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APRIL 2019

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SHUR E MV8 8 + VIDEO IK MU LTIME KIT DIA A AUDIO XE I/O -TECH NICA LP120 TURN X TABLE

INTERVIEWS — Periphery, The Cranberries, Circles, Duff McKagan & More

REVIEWED — Marshall Studios Series, Markbass CASA, Jackson Adrian Smith, Denon SC5000,

Sennheiser True Wireless Headphones, EarthQuaker Dispatch Master, Ashdown Woodsman + many more

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The Vox MV50. Amazing NuTube technology.

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CONTENTS 10 12 13 14 20 22 23 24 25 26 28 30 32 33 34 52 54

Giveaways Industry News Music News Product News Cover Story: Metallica The Cranberries Circles Larkin Poe I Prevail Ne Obliviscaris Periphery Duff McKagan Audio-Technica Turntables Musicology Guitar Bass Percussion Product Reviews Directory Show & Tell

Metallica PG.20

Foreword So here we are, 300 issues and 25 years of Mixdown. Holy shit! How cool is that?! We’ve been working on this one for a while and we knew that we needed a momentous artist to grace the cover of such a momentous issue.

Luckily we managed to get a hold of the biggest band in the world and they were happy to jump on board. It’s crazy to think that Mixdown is only a few years younger than me. I feel very fortunate to sit in the editor’s chair and do what we do every month. Thank you so much to our readers, contributors, supporters and advertisers for keeping Mixdown moving forward. We’re so very far from done.

/MIXDOWNMAGAZINE @MIXDOWNMAGAZINE @MIXDOWNMAGAZINE MIXDOWNMAG.COM.AU

Duff McKagan

Larkin Poe

PG. 26

PG. 23

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

NICHOLAS SIMONSEN - EDITOR

MADE BY MUSICIANS, FOR MUSICIANS STREET AND ONLINE DATE: WEDNESDAY MAY 8 AD BOOKING DEADLINE: MONDAY APRIL 29 EDITORIAL DEADLINE: TUESDAY APRIL 30 ARTWORK DEADLINE: WEDNESDAY MAY 1 For more information on Mixdown Magazine contact us at: (03) 9428 3600 or email nicholas@furstmedia.com.au

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

ONLINE EDITOR Will Brewster will@furstmedia.com.au

MANAGING DIRECTOR Patrick Carr patrick@furstmedia.com.au

GRAPHIC DESIGNER Erica May

EDITOR Nicholas Simonsen nicholas@furstmedia.com.au

EDITORIAL ASSISTANT 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, Alex Winter, Jessica Over, Eddy Lim, Lewis Noke-Edwards, Josh Martin, Taylor Douglas

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GIVEAWAYS Shure MV88+ Video Kit Giveaway The Shure MV88+ Video Kit is the perfect mobile professional recording rig for Vloggers, Filmmakers, Musicians and Podcasters. The kit includes a Tripod, phone clamp & shoe‐ mount mic clip, USB‐C & lightning cables, making sure you have everything you need for video and audio recording on the go!

Thanks to our friends at Jands, we have three of these to give away. To find out how to enter, head to the Mixdown website or Instagram or @jandsptyltd.

Last Month’s Giveaway Winners American Football LP3 Vinyl Giveaway American Football have returned with their third album. LP3 is a mesmerising collision of emo, post rock and shoegaze featuring guest collaborations with Paramore’s Hayley Williams and Slowdive’s Rachel Goswell. Thanks to our friends at Inertia Music, we’re giving away a copy of the album on vinyl absolutely free and the winner is: Kym from Melbourne, Victoria!

IK Multimedia AXE I/O Giveaway The IK Multimedia AXE I/O is an audio interface and controller designed for the needs of the modern recording guitar. The AXE I/O is full to the brim with high quality and stellar features. We have one to giveaway thanks to our friends at Sound & Music.

PreSonus Studio 24c Interface Giveaway The PreSonus Studio 24c is the perfect interface for mobile musicians, guitarists, podcasters and live streamers. The two-in, twoout Studio 24c audio interface features USB-C computer connectivity and includes combo mic/instrument/line inputs with +48V phantom power for condenser mics. Thanks to our friends at Link Audio, we have one to give away this month and the winner is: Donovan from Burnett Heads, Queensland!

Audio-Technica LP120X Turntable Giveaway It’s that time of year again! To coincide with Record Store Day, we have one of the brand spanking new Audio-Technica LP120X Turntables to give away thanks to our friends at AudioTechnica Australia.

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

A journey of 10,000 gigs begins with the very first one. Make it count.

CP SERIES POWERED LOUDSPEAKERS Distributed by

www.jands.com.au 10

qsc.com

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The debut vocal album

Available on CD, LP digital and download from March 29th

Features performances by Blake Mills (Alabama Shakes, Perfume Genius), Benmont Tench (Tom Petty and the Heartbreakers), Zac Rae (Death Cab for Cutie, Lana Del Rey) and Jeremy Stacey (Ryan Adams, Noel Gallagher).

Features the singles Killing Me and Under The Sun

produced by Paul Stacey (Oasis, The Kooks, Black Crowes) with Jackson Browne as Executive Producer

www.talwilkenfeld.com

“A rich, expressive singer whose voice brings a fluid kind of cohesion to the album’s 10 tracks.” Billboard

INDUSTRY NEWS Michael Gudinski & Michael Chugg Get The Old Band Back Together Emerging as booking agents, managers and hustlers as teenagers, Michael Gudinski and Michael Chugg went from rivals to associates to rivals. In 1979, Chugg was part of the consortium led by Gudinski when they put together Frontier Touring. Two years later, Chugg went off on his own and set up Chugg Entertainment.

Now the two have entered into a partnership where Frontier will co-promote all Chugg Entertainment tours, effective April 1. Susan Heymann will continue as managing director of Chugg Entertainment.

The partnership will allow Chugg’s company to use Gudinski’s resources in his Mushroom Group, which includes record labels, publishing, artist management, merchandising, events etc. It also gives them greater strength to get more international acts. Gudinski said, “Michael and I have been in and out of business together for almost half a century and we’ve both seen a lot change in that time. There’s no doubt that live touring in Australasia is undergoing its biggest transition ever and we’re both equally passionate about ensuring we continue to set the bar for touring down under.” Chugg added, “Chugg Entertainment has had an incredible run of late and it’s the perfect time for us to take this step to strengthen our place in the market and keep growing while the industry changes and evolves.”

Australia’s Guitar Strap Co. Eyes Global Market Australian firm Guitar Strap Co. is ramping up its production ten-fold to keep up with overseas demand. Based in North Perth, it already made worldwide footprints, with endorsements by the likes of Metallica bassist Rob Trujillo, Green Day’s Billie Joe Armstrong and LA-based Adelaide guitarist Orianthi, while discussions are ongoing with Ed Sheeran and U2’s The Edge as part of a push into Europe.

The company was set up three years ago by former musicians Tony Croce and Mike Nayar, who scored mentorship and $100,000 boost from Boost Juice founder Janine Allis after they appeared on television’s Shark Tank in 2017. Guitar Strap Co is in 150 Australian stores with orders from nearly 1000 stores in the US, Europe and the United Arab Emirates.

Turning On Lighthouse Award The Lighthouse Award grants $5,000 to a female manager who exhibits passion, creativity and integrity. It was set up by APRA AMCOS in memory of Linda Gebar who died in October 2008 soon after the birth of her second child. One of the few female managers in the ’90s, she worked with The Killjoys, Frente and The Blackeyed Susans.

She also booked the Punters Club, ran a record label and worked at PBS FM and APRA AMCOS. Previous recipients of the award include Jen Cloher, Bonnie Dalton, Bernadette Ryan, and last year, Sabrina Robertson. The latter used the grant to travel to the UK’s The Great Escape and to South America for a Sounds Australia trade mission, set up her Mismatch blog “ and allowed me to continue unofficially mentoring emerging managers and artists.” Eligibility criteria and application details here: apraamcos.com.au/ lighthouse-award/ Applications close April 18, recipient announced in May.

AIR Award Nominees, Indie Con Keynotes Nominees for the AIR awards in July in Adelaide have been announced, with Courtney Barnett, Gurrumul, Laura Jean, G-Flip, Confidence Man and Emily Wurramara picking up multiple nods. Also in the running are A.B. Original, John Butler Trio, Methyl Ethel, Julia Jacklin, Rolling Blackouts Coastal Fever, Mojo JuJu, Didirri, B Wise,

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Milwaukee Banks, Dan Sultan and The Wolfe Bros among others. See the AIR website for full rundown.

The awards are run as part of Indie-Con (April 25/26) the music summit that will look at synchronisation and music publishing, video and gaming, mental health in the music industry, the future of the label and insights into China. The first two keynote speakers – Helen Smith, executive chair of London-based indie trade organisation IMPALA and Thaddeus Rudd, co-owner and co-president of New York based label Mom+Pop which was founded in 2008.

Victoria’s Indie Labels Get Stamped For Music Passport Music Passport is an export market development trip to allow at least two emerging managers from the state of Victoria, accompanied by a globally experienced manager. It is run by The Association of Artist Managers Australia (AAM) with the support of the state government’s arts/music arm, Creative Victoria. The lucky recipients (to be announced on April 8) go to Los Angeles and New York between June 3–24, including the Sync Summit 2019, Indie Week 2019 and Libera Awards to make contacts and create opportunities. “The AAM has been seeking support for our associate, entry level and emerging managers. Increasingly artist managers are working in a global marketplace from the early stages of career development,” says executive director Leanne de Souza.

Aussie Study: Death Metal Doesn’t Create Violent Behaviour Despite lyrics like “I’ve had one desire since I was born; to see my body ripped and torn” (Bloodbath’s ‘Eaten’) and its image, a study by Macquarie University in NSW has concluded that death metal does not create violence. Prof. Bill Thompson who oversaw the study, says, “Many people enjoy sad music, and that’s a bit of a paradox - why would we want to make ourselves sad? The same can be said of music with aggressive or violent themes. For us, it’s a psychological paradox - so [as scientists] we’re curious, and at the same time we recognise that violence in the media is a socially significant issue.” The findings were published in the Royal Society journal Open Science.

The study’s approach was to test how much of participants’ brains noticed violent and non-violent imagery, and how much was affected by the music they were offering.

They were played Bloodbath’s ‘Eaten’ and, on the other side of the spectrum, Pharrell Williams’ ‘Happy’. Of the two images, the brain would remember more the violent one, but only because it is sending out a message that there is a threat. Prof.

Thompson noted: “If fans of violent music were desensitised to violence, which is what a lot of parent groups, religious groups and censorship boards are worried about, then they wouldn’t show this same bias. But the fans showed the very same bias towards processing these violent images as those who were not fans of this music.”

office. However, from April 1, a new sales partnership has begun with major radio, TV and online network Southern Cross Austereo (SCA). SCA will provide all its platforms to flex ads for the platform. SoundCloud chief operating officer Michael Weissman emphasised that Australia remained a key market for the brand in its global strategy, welcoming the opportunity to engage with local advertisers directly again: “We look forward to offering advertisers more opportunities to reach our audience of tastemakers who are driving what’s next in music culture. With SCA as our dedicated partner, we’ll be able to leverage their incredible reach and leading sales support team as we continue to grow our service in Australia.”

Shot DJ Returns For 10th Year

New Program From Songwriters Conference

Shot DJ, the competition for Australian club DJs to realise their global dreams is back for its 10th year – and is expanding to Perth this year, as well as being staged in Brisbane, Sydney and Melbourne. DJwannabes can enter with no experience, and after six weeks of training, the winner from each state could end up steel-wheeling at any one of these festivals – Imagine (US), Hideout (Croatia), Snowbombing (Austria), BPM (Portugal), Chasing Summer (Canada) or CRSSD (US). To register, visit: www. yourshot.com.au/register/.

The Australian Songwriters Conference (ASC), usually a four-day skills and career development event, has announced a move into annual memberships and monthly songwriter workshops.”The conference is usually held on a biennial basis, and we have always wanted to expand on that so that we can assist songwriters on a more regular basis than just once every year or two,” says ASC founder and CEO Lisa Butler.

Four Ambassadors For Record Store Day Record Store Day in Australia (Saturday April 13) has four ambassadors this year: Kate Ceberano, Dave Faulkner of the Hoodoo Gurus, Russell Morris and Hockey Dad. All of the four can testify how support from record stores consistently helped their careers. Over 180 indie stores around the country will have live band and DJ sets, competitions, specials, the inevitable vinyl crate scramble – and the reminder that stores remain crucial to find new music, and that an enthusiastic record counter person can open up more options than any streaming playlist editor.

SoundCloud Back In Australia SoundCloud is back making a presence in Australia after two years. In July 2017, after it closed its Sydney office after 12 months of operation, with the only way to buy ads on the platform being through its US

The ASC Members Program allows songwriters regular online access to industry resources, career and song crafting tutorials, podcast interviews with industry professionals and member forums that include songwriting challenges and critiquing. Members also get discounts on ASC events and activities and gives them free entry to ASC Circles, monthly workshops being opened around the country. ASC membership costs $150 for twelve months. More info at www. australiansongwritersconference.com

Females Dominate Queensland Music Awards Last month’s Queensland Music Awards in Brisbane, held at the Brisbane Showgrounds, not only showed off the huge array of new talent that is bubbling under in the state, but how much of it is female, with Tia Gostelow, Clea, Amy Shark, Emily Wurramara, Sahara Beck, Asha Jefferies, and Emma Beau bagging awards. Confidence Man, The Jungle Giants and The Biology Of Plants, who contain at least one female member, also scored on the big night. Congratulations!

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MUSIC NEWS

Tame Impala tease new album

Splendour in the Grass drops stacked 2019 lineup

Melbourne International Jazz Festival announces full 2019 program

Australia’s answer to Coachella, Splendour in the Grass, has announced its 2019 lineup, headlined by the holy trinity of Tame Impala, Childish Gambino and Chance the Rapper.

In the smaller font, James Blake, SZA, The Streets, Foals, Santigold, FIDLAR and more are making the trip Down Under.

Oz stars Pond, Courtney Barnett, Tropical Fuck Storm, What So Not, Matt Corby, Hatchie and more flesh out the rest.

A “Mystery Oz Act” also sits on the bill. Tickets go on sale Thursday April 11 9am via splendourinthegrass.com.

Melbourne’s annual international jazz showcase has unveiled its full program of musical events for 2019, and it’s an absolute doozy. Featuring over 500 performers, the festival is set to be headlined by jazz-fusion legend Herbie Hancock, with the likes of Ghost Note, Billy Childs, Linda May Han Oh, Stephen Magnusson and Ambrose Akinmusire also performing across ten days. Head to melbournejazz.com for the full program.

Vivid Sydney unveils massive 2019 lineup

Rammstein herald their long awaited return

The Amity Affliction drop East Coast arena dates

Vivid Sydney, the NSW capital’s annual mecca for music, culture and the arts, has detailed its huge 2019 program.

In addition to The Cure performing Disintegration in full to celebrate its 30th anniversary, Vivid will feature FKA Twigs, Herbie Hancock, Underworld, Teyana Taylor, Maggie Rogers and house music pioneer Larry Heard, as well as local favourites Stella Donnelly, a reformed The Middle East, The Dirty Three and The Ocean Party, who will be performing their last ever show at the festival. Check out vividsydney.com for all the details.

Beloved German metal titans Rammstein have reemerged from their slumber to announce their first record of new material in ten years. Rammstein, the band’s seventh full length effort, will be released via Universal Music Australia on Friday 17 May. The band has shared a controversial ten minute video of lead single ‘Deutschland’ to send their loyal fanbase into a frenzy prior to release. Hopefully it’s worth the wait!

Metalcore madness! After tearing up stages last month at Download Festival, The Amity Affliction have detailed a string of Australian arena shows in September this year.

With support from Underoath, Crossfaith and Pagan, the Gympie metal act are taking last year’s chart topping LP Misery to venues across Melbourne, Sydney and Brisbane in what promises to be their biggest national shows yet. Tickets available now via Live Nation.

Anberlin reunite for Australian shows

Karnivool set to hit the road next month

Australian rock legends to honour Abbey Road

Roll up, roll up – Karnviool is coming to a city near you!

After a triumphant comeback show at Unify Gathering earlier in the year, the Perth-based prog-metal unit are heading out on their first run of Australian headline shows since 2016.

The twelve date Praxis tour will see Karnivool joined on the road by Southeast Desert Metal, the headline grabbing Indigenous all-star rock group from Alice Springs. Catch them in a town near you in June and May.

With the 50th anniversary of The Beatles’ Abbey Road fast approaching, a crack team of Australian rock royalty have come together (ha) to stage a massive celebration of the seminal LP. Comprised of members of Powderfinger, Spiderbait, Jet and You Am I, the Antipodean Rock Collective are hitting up venues across the country to commemorate half a century of the influential record from the Fab Four.

Tickets are on sale now via Live Nation.

Prodigal Perth psych-pop phenomenon Tame Impala has tantalised fans with two tasty morsels of material from their yet-to-be-announced fourth record. The project, spearheaded by producer extraordinaire Kevin Parker, released their disco-laced lead single ‘Patience’ back in March, and debuted another new synth-heavy banger ‘Borderline’ on Saturday Night Live a week later. With the band locked in to perform at a number of keynote festivals this year, expect to hear more new material soon.

After supposedly disbanding over five years ago, Florida emo-rock powerhouse Anberlin have regrouped for a run of shows in Australia in May. With a setlist loaded with tracks from 2005’s Never Take Friendship Personal and 2007’s Cities as well as a handful of fan favourites, there’s no doubt this one will be a major throwback. Shows are locked in for Melbourne, Sydney, Brisbane, Adelaide and Perth – visit SBMpresents.com/ for more.

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PRODUCT NEWS

Markbass Ships Signature Stu Hamm Bass Head CMC MUSIC | CMCMUSIC.COM.AU Stu Hamm, legendary bass player known for his work with artists like Steve Vai and Joe Satriani, has teamed up with Markbass to create his dream head. The Stu Hamm signature amp features both a solid state and a tube preamp with separate level controls offering the clean attack of a solid state and the warmth and grit of a tube in a single unit with the mix option, plus a 7-band graphic EQ to tailor bass tone to perfection.

Carl Martin Bring The Heat With New Panama Overdrive

Samson Unveil New Wireless Headset

IK Multimedia Announce iRig Micro Amp

INNOVATIVE MUSIC | INNOVATIVEMUSIC.COM.AU

ELECTRIC FACTORY | ELFA.COM.AU

SOUND & MUSIC | SOUND-MUSIC.COM

The Panama is Carl Martin’s brand new overdrive pedal, perfect for the guitarist looking for a dynamic and powerful drive pedal. The Damping control allows for aggressive and clear distortion when ramped up or a deeper and thicker tone when rolled back. All encased in a stylish anodised casing. Coming soon to a store near you.

The AirLine 99 is the latest in the range of Samson’s wireless headset microphones, providing a compact and convenient solution for singers, presenters and educators needing a hands-free microphone. The UHF wireless system combines the AH9 micro transmitter and AR99m micro receiver for a highly-portable, rechargeable setup that offers high-quality sound completely free of cables and beltpacks. Expect to see these in stores in June.

The iRig Micro Amp is the brand new compact, battery powered amp perfect for the musician in constant motion.

The 15w amp includes a high-quality connection for iPhone, iPad and Mac/PC. This allows you to connect with AmpliTube software and enjoy a wide array of amp and stompboxes.

Expect to see the iRig Micro Amp in stores in the very near future.

Yamaha Unveil New Line Of DXR Speakers YAMAHA MUSIC AUSTRALIA | AU.YAMAHA.COM

Ernie Ball Expands Cable Range for 2019 CMC MUSIC | CMCMUSIC.COM.AU

Yamaha have just announced an update to their stellar line of DXR speakers, bringing in the new MKII range. These new models offer an upgrade in performance and reduction in weight from the current DXR models, delivering higher maximum SPL as a result of a larger 1.75” voice coil HF compression driver.

Ernie Ball have expanded their heralded cable range for 2019.

These cables feature a high-quality design made with superior components built to last. Multiple shielding materials preserve the signal with low handling noise, and the durable exterior ensures long-lasting performance. They come in braided, patch, straight, coiled, speaker, and microphone and are offered in different lengths to meet your needs.

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PRODUCT NEWS

Apogee Now Distributed By Amber Technology AMBER TECHNOLOGY | AMBERTECH.COM.AU Apogee products will now be distributed in Australia by Amber Technology. To coincide with this announcement, Apogee and Amber Technology are offering owners of the Symphony I/O the chance to trade in their existing model and receive a $1000 discount on the Mk II chassis.

Customers simply need to contact Amber Technology to cash in on this great offer.

Peterson Products Available In Australia Thanks To Amber Technology

Radial DAN TXE and RX2 Now Available

Phil Jones Bass BP-800 Compact Head Available Now

AMBER TECHNOLOGY | AMBERTECH.COM.AU

EGM DISTRIBUTION | EGM.NET.AU

AMBER TECHNOLOGY | AMBERTECH.COM.AU

Radial Engineering’s new Dante-enabled network interfaces are now available. The DAN-TX2 transmitter and the DAN-RX2 receiver are designed for use with any Dante or AES67compliant network, utilizing low-latency audio-over-Ethernet protocol while featuring 24bit/96kHz digital converters for exceptional audio quality. Find these in stock at your latest Radial dealer now.

The BP-800 is Phil Jones Bass newest compact and lightweight bass head. The BP-800 features a Class A preamp with the popular PJB 5-Band EQ, The appealing blue front panel is a quarter inch thick and CNC machined while the chassis is built from thick aluminium extrusion making it incredibly strong. All control knobs are PJB design solid aluminium built for a high end look and feel.

Amber Technology’s portfolio of brands has expanded even further with the addition of Peterson Electro-Musical products to their roster. Peterson has been making high quality tuners and metronomes since 1948, providing a full range of options for the modern musician. Check these killer products out at a local Peterson dealer.

PreSonus Expand Digital Mixer Range LINK AUDIO | LINKAUDIO.COM.AU PreSonus have announced four new models in their digital mixer range of consoles. The StudioLive 32S, 32SC and 32SX replace the current three models in the range as well as the new StudioLive 64S, the flagship mixer, providing 76 mixing channels, 43 busses and 526 simultaneous effects.

You can expect to these new models in stock next month.

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Ashdown Woodsman Acoustic Amps Available Now PRO MUSIC AUSTRALIA | PROMUSICAUSTRALIA.COM.AU The new Woodsman Acoustic amp range from Ashdown are now available through your local Ashdown dealer. The Woodsman series are available in three different models, Parlor (25w), Classic (40w) and Jumbo (65w), ensuring that there is a model suited for any and all setting you might find yourself in.

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PAGE HEADER

MV88+ VIDEO KIT PREMIUM STEREO MICROPHONE

IT‘S TIME TO HEAR EXCELLENCE. JUST ADD PHONE.

Professional sound for Vloggers, Filmmakers, Musicians & Podcasters.

Just add your phone and you’ve got superior sound, all the accessories you need, plus a choice of creative set ups to pick from.

Flawless Audio. Anywhere. Anytime.

Distributed by

www.jands.com.au mixdownmag.com.au

Share your #MOTIVMOMENTS for your chance to WIN an MV88+ and loads of cool SHURE merch!

shure.com #MadewithMOTIV © 2019 Shure Incorporated SRH1540 Premium Closed-Back Headphones Sold Seperately

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PRODUCT NEWS

Fender Unveil Duff McKagan Deluxe Precision Bass FENDER MUSIC AUSTRALIA | FENDER.COM.AU Fender have today announced an Artist Signature Series collaboration with Guns N’ Roses bassist Duff McKagan, unveiling a new Deluxe Precision Bass based on the model used on the band’s classic debut Appetite For Destruction. Combining a Precision Bass body with a sleek Jazz Bass neck, the bass comes in both Black and sleek Pearl White finishes, with the latter reminiscent of the ‘80s Jazz Bass Special favoured by McKagan in the ‘80s.

Phil Jones Bass Bighead Pro In Stock Now

Fender Add New Models to The California Acoustic Line

NS Designs NXTa Bass Guitar Available Now

EGM DISTRIBUTION | EGM.NET.AU

FENDER MUSIC AUSTRALIA | FENDER.COM.AU

EGM DISTRIBUTION | EGM.NET.AU

Phil Jones Bass has your headphone amp/audio interface needs covered with the new HA-2 model. The HA-2 is the second model in the Bighead series and is a step up model of the popular HA-1. It is a rechargeable lithium ion dynamo that is ideal for use in practice or recording situations. It also functions as a headphone booster amp as well as a preamp to drive powered amplifiers.

Fender have expanded their stellar line of California acoustic guitars. These new models add six new colours to the range, including Slate, Bronze, Olive, Ice Blue, Midnight and Burgundy, all in a satin finish. The models are available in the Malibu, Newporter and Redondo body shapes. Vibrant sounding guitars with vibrant finishes to match.

The NS Designs NXTa models are now available in Australia.

The headless bass comes from the mind of revered guitar designer Ned Steinberger and is aimed for comfort, incredible performance and outstanding versatility. You best make your way to an NS Design dealer and get your hands on one.

Icon Platform M+ Available Now INNOVATIVE MUSIC | INNOVATIVEMUSIC.COM.AU Seize control of your productions with the Platform M+ DAW Controller, adding true tactile control via USB2.0 to your Digital Audio Workstation (DAW) and production system. The Platform M+ is a MIDI control surface designed for producers, engineers and musicians who want the hands on control of a mixing console and the flexibility of modern “in the box” digital music production within a smaller physical workspace.

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Sonodyne Home Studio Range Now Available Now HILLS | HILLS.COM.AU Sonodyne’s SRP range of high-powered active reference monitors are now available in Australia thanks to Hills.

Mixing, recording and editing audio in home studios has never been more popular and Sonodyne SRP range is the perfect fit for tight spaces and small editing suites. Contact Hills for more information.

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METALLICA – STILL WIRED Metallica are bringing their WorldWired tour to Australia this October. The Bay Area metal luminaries were last here for Soundwave 2013, making this their first visit since releasing album number ten, Hardwired... to Self-Destruct, in 2016.

The WorldWired tour has already covered North America, Europe, Latin America and Asia and the tour setlists have included songs from every Metallica album except for 2003’s St. Anger. Material from Hardwired gets plenty of coverage, nestling in alongside Metallica classics like ‘Enter Sandman’, ‘One’ and ‘Seek & Destroy’.

“We play about four or five songs from Hardwired and they fit in well with all the other songs,” says lead guitarist Kirk Hammett. “People seem to identify with them and get some sort of emotional reaction.

“Technically speaking none of these songs are that hard to play, at least from my viewpoint. It’s not like I’m playing jazz chords or something like that. It’s heavy metal and we’ve been playing it forever. After a while they become a part of you and you can really watch yourself play it – the difficult part of it melts away.”

It helps that Hammett maintains a committed guitar fitness routine off-stage. Hammett’s career dates back to the late-1970s when he cofounded the thrash metal band Exodus. He joined Metallica in the lead up to their 1983 debut, Kill ‘Em All, replacing original guitarist Dave Mustaine. But despite such a lengthy tenure, his instrument of choice has lost none of its allure.

“Playing guitar calms me down and excites me in the most positive way,” he says. “I’m sitting in my room right now staring at Greeny [a 1959 Gibson Les Paul formerly owned by British blues guitarist Peter Green]. For the rest of the day I’m just going to be playing my guitar, which is what I do day in, day out other than being a father and taking a break to go for a surf or go for a run.

“I constantly come to realisations about music and my own playing and it’s a never-ending experience for me. Because I have a curious nature, I’m constantly listening to different types of music and wondering how different types of music are played.”

Hammett’s famous for playing customised ESP guitars as well as a selection of vintage Les Pauls. He’s also interested in experimenting with a variety of different models in the hope of expanding his technique and introducing new sounds.

“I have a jazz hollow body, I have a nylon string guitar, I have a Strat. It’s just nuts. I have my core collection of like 20-30 guitars I really love and try to play a lot. They’re guitars that a lot of people

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“I FEEL REALLY BLESSED AND EXTREMELY FORTUNATE TO BE WITH THREE OTHER GUYS MAKING MUSIC THAT REACHES SO MANY PEOPLE,” are familiar with. I’ve used them in studio or played them live,” he says.

“A lot of times I’ll feel like playing a Strat onstage, which is kind of weird. It changes the sound of the band when I play a Strat, but it’s really cool for me to do something like that because it’s a different tonal colour.

“We just recently played the Chris Cornell tribute show and I played a [Gibson] ES-335 onstage because I knew Chris liked ES-335s.

It played so well onstage I decided to take it on tour with me.”

Metallica’s Australian run sends them to a number of sports stadiums around the country. The metal icons have been playing to massive audiences for decades, and public enthusiasm isn’t dwindling. WorldWired’s Mexico City stop attracted 197,000 people and there have been dozens of shows for crowds in excess of 40,000.

“I feel really blessed and extremely fortunate to be with three other guys making music that reaches so many people,” Hammett says.

“I feel very blessed to be in a situation where I can help people through our music and my

guitar playing. That’s what means the most to me.”

Metallica are one of the most commercially successful bands of all time, but fame hasn’t splintered the core group of Hammett, vocalist/guitarist James Hetfield and drummer Lars Ulrich – all of whom have been there since album number one.

“What really matters is that we play well and that we’re all functional and healthy and we get on,” Hammett says. “I hear about some bands and I’m just like, how could they even stand for that? It’s like how every family’s different; every band is different.”

Hammett, Hetfield and Ulrich have seen a few bass players come and go however. Cliff Burton, who played on the first three records, tragically died in a bus crash while on tour in Sweden in 1986.

“It was really unfortunate what happened with Cliff,” Hammett says.

“I get deep emotional pangs and I just think about what a great guy he was and how beautiful he was and how funny and emotional he was, and sensitive.”

Jason Newsted joined as Burton’s replacement for 1988’s ...And Justice For All, but departed prior to St. Anger. Former Suicidal Tendencies bass player Rob Trujillo completes the current lineup, appearing on Hardwired and 2008’s Death Magnetic.

“Rob is just such an amazing musician. He plays ‘Anesthesia’ like it was composed for him. It’s a Cliff Burton composition; Rob Trujillo plays the fuck out of that. ‘For Whom the Bell Tolls’ too, when Rob plays it he plays it with full authority. He can hang with anything we throw at him.”

The WorldWired tour is scheduled to last until November 2019, after which it could be time to hop back in the studio.

“When I was 13-14 years old, bands put out albums every year,” Hammett says. “Seriously, Kiss put out an album every eight months.

None of this eight years between albums. None of us are very comfortable with the fact it’s been so long, because that is a long time. We’re hoping to avoid that this time around.

“We’re in our third year since Hardwired. Maybe we can get a bit more focus and go into the studio a bit sooner. I have a tonne of material. I’ve over-compensated, so I’m ready to go anytime.”

BY AUGUSTUS WELBY Metallica’s WorldWired tour kicks off Thursday October 17 at Perth’s Optus Stadium.

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MUSIC INTERVIEWS The Irish band’s early commercial success launched them onto the global touring circuit, leading to their Australian debut in 1995. But founding guitarist and co-songwriter Noel Hogan says they never let go of their Limerick roots. “[Limerick is] so far removed from the hustle and bustle and the craziness of everything. When you’re doing the band thing and the success, I get a bit mad. So for us it was always kind of an escape to come back here.”

Everybody Else Is Doing It, So Why Can’t We? features the iconic singles ‘Dreams’ and ‘Linger’ while No Need To Argue contains the band’s biggest hit, ‘Zombie’, and the enduring ‘Ode to My Family’. The Cranberries’ chart success continued with their next two releases, To the Faithful Departed and Bury the Hatchet, making it four consecutive top ten albums.

“Through the first two albums I was still living at home with my parents,” Hogan says. “I’d come home from a really long tour and back in with my parents. And your parents are your parents, they’re still going to tell you to clean your room and make sure you’re not out too late. That grounds you.”

The Cranberries Cement Their Legacy The Cranberries are from Limerick in the MidWest Region of Ireland. The band’s 1993 debut, Everybody Else Is Doing It, So Why Can’t We?, hit number one in the UK charts and its follow up, No Need to Argue, landed in the US top ten.

The Cranberries’ eighth studio album, In the End, is out this month. O’Riordan sadly passed away in early 2018, which makes its very existence somewhat precious. It’s not a cash-grab posthumous release made up of excavated rarities, though. Produced by Stephen Street, In the End consists entirely of new material.

“We’d just done demos, Dolores and myself,” Hogan says.

“When the band began I would record guitar onto a cassette.

That moved onto four-track and then that moved onto Pro Tools on a laptop. The last few years I was using Logic for writing.”

Despite being derived from demos, O’Riordan’s vocal takes lack no discernible frequencies. Given their advanced pre-production practice, Hogan says the demo vocals were often good enough to be used on the album.

“We have done it before over the years where she’d do it in a

The song comes from the opening track to last year’s album The Last One, a massive step up for Circles in terms of their creative dexterity since Infinitas in 2013. The Last One was a cohesive and developmental process for Circles, one whose effects Furuhashi says the band are still feeling today. “We put a lot of time into this one,” he says, “[a] bit of a gap as you can tell – four years, almost getting to Tool and Karnivool status with that one!

“The music was written by the end of 2014, the album was ready, we just had to do vocals. We obviously had a bit of a line-up change. It was hard, because of Ben [Rechter]’s voice, and the nature of writing vocals and the structures of the songs had changed.

“We wanted it to be the best it could be and with a different voice as well. We’re big believers in the vocals being the main translation of our message.”

Circles Stay True Winter is coming, and not just for the show from which this slogan is borrowed. Winter is also the name of the Circles national tour happening in the season of the same name. It’s shaping up to be a pretty nice time of the year for the prog-metal Melbournites and guitarist Ted Furuhashi loves the irony. “Coincidental, I guess,” he says. “We kinda thought, ‘We’ve got a song called winter. It’s winter. It’s the winter tour. Kinda one of the dumb things that we all went, ‘Yeah alright!’”

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The lineup changes Furuhashi is referring to are of course the departure of Perry Kakridas, with long-time guitarist Ben Rechter assuming the role of vocalist in his place. It’s his talent that contributes to the game-changing and volatile tones we hear on The Last One. “We wanted Ben to have as much input as he could because he was going to be the one delivering the message at all the live shows,” says Furuhashi.

“We wanted him to be as comfortable as he could be when delivering it. That took a long time but everyone had some input.

“We’re really stoked with the product – it’s very honest and sounds the way we wanted it to.”

Furuhashi’s perspective on the role of a vocalist is pretty cool, and Circles’s support and their patience (though the word may seem condescending) with Ben moving into this role, is admirable.

“I guess we’re in this field of progressive metal, that’s what people want to describe this music as, but when you get into instrumentations, time signatures and different effects, it’s easy to get carried away with the music being really

demo and then when we went back to redo it she said, ‘I was happier with the demo.’ We were at that point. Everything was on a laptop and ready to roll and getting ready for the next stage, which was getting Mike [Hogan, bass] and Ferg [Lawler, drums] involved.”

Stephen Street worked on the first two Cranberries albums plus 2001’s Wake Up and Smell the Coffee and their 2012 comeback LP, Roses. Street worked closely with The Smiths during the 1980s, a band that had a major influence on The Cranberries’ early songwriting efforts. But by now he’s as closely tied to The Cranberries as anyone.

“Stephen’s been such a good friend to us over the years and so the minute Mike, Ferg and myself decided we were going to do this album it was a no brainer to go back to Stephen and have that familiarity in the room.”

The record covers a range of styles and moods. ‘Catch Me If You Can’ is a classic Cranberries rock song, ‘Summer Song’ is bright and easy going and ‘In the End’ is a reflective acoustic ballad centred around the line “Ain’t it strange / When everything you wanted / Was nothing that you wanted / In the end.”

“When Dolores passed away and time went by and I felt up to listening to this stuff, it was only at that point I realised how much we had actually done,” Hogan says. “I was slightly amazed at how much was done and then when I listened to it all as one thing I just thought, ‘This can’t be put away on a shelf in a hard drive and forgotten about.’

“As soon as I sent it to the boys they felt the same way and Stephen did as well. There was never really a point where I thought we shouldn’t do this.”

BY AUGUSTUS WELBY In The End, the new album from The Cranberries, will be released on Friday April 26 via BMG.

important – which it is.

“But at the end of the day when you go to a show, the first person you gravitate toward is someone who opens their mouth. As humans, that’s the way we communicate, through the voice. The music is a support for that.

“As much as we get a bit self-indulgent with our music, at the end of that day that’s the pull, and that’s where we want to grab the audience’s attention first – lure them in with the vocals and go, ‘actually, here, we actually write cool music and put thought into it as well.’”

The Winter Tour will be the first national tour Circles have undertaken since the release of The Last One. After nearly ten years of Circles’ existence, Furuhashi says there isn’t any worry about how existing fans will respond to the new live show with both a fresh body of songs and a new vocalist at the helm. “It sounds bad, but we’re kind of playing music for us now.

“When you’re starting out, yeah you want people coming to your shows and get as much reach as possible, but at the moment we’ve come to an agreement – we want to write music we’re all proud of and makes no compromise for anyone but ourselves.

“Fans will come and go and what stays is the music that’s created, your standpoint on the music world. An audience will perceive it however they want. If they’re on board, then awesome, and we’re not here to tell you what you can and can’t like. We’re just giving you what we do as the best we can do – if you like it, awesome!”

BY ANNA ROSE

Circles will tour nationally July-August, with shows in Sydney, Adelaide, Melbourne, Brisbane, Perth, Canberra, Belgrave and Ballarat. More information and ticketing is available via Eventbrite.

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MUSIC INTERVIEWS “It was such a liberating experience to be in the studio, just the two of us, with our trusty engineer,” says Rebecca Lovell of engineer Roger Alan Nichols, whose previous credits include albums by The Veronicas, Paramore and Steven Tyler. The Lovells say Nichols was instrumental in keeping the production process on track and the album aesthetically unified.

“We want to be ambassadors for this musical heritage that has sprung up in the southern United States, and we’re very proud to have people come out, listen and hopefully enjoy,” says Rebecca. “Our main goal with our live performances is to energetically display what it is that we do. We really love performing, so we really lay it all out on the table.”

“He offers extreme support that can sometimes border on tough love,” says Rebecca. “When we decided we did indeed want to self-produce – you know, it’s a very big job. There were times when we definitely wanted to chicken out and have somebody else make those choices. Like, ‘What do you think?

Is this the right move?’ Most of the time [Nichols] would say, ‘Nope, you’re producing it. It’s your record. I’m out of the way – you guys have to make this call.’ Ultimately, that was the kind of support we needed.”

Larkin Poe will play 2019’s Byron Bay Bluesfest, along with artists like Iggy Pop, Norah Jones and Ben Harper. The Lovells are no strangers to sharing the stage with iconic presences like Elvis Costello and Keith Urban, but they say they’re equally looking forward to playing two intimate headline shows at Howler in Melbourne and Sydney’s Oxford Art Factory.

“You can produce anything to sound great, but if the songs aren’t there, it doesn’t really matter,” says Megan. “The songwriting is always the biggest and hardest part of putting the record together.”

“One of the big pitfalls of creative endeavour is the temptation to second-guess yourself,” adds Rebecca. “Normally, if you can listen to the little voice inside your head, it won’t steer you wrong.”

Globetrotting With Larkin Poe Many artists shoot to make each project bigger than the last: bigger crowds, bigger albums, bigger sales. For US blues-rock group Larkin Poe, however, that’s not necessarily true. Larkin Poe’s new album, Venom & Faith, was recorded by sisters Rebecca and Megan Lovell with an engineering crew of one. Venom & Faith follows 2017’s Peach as the group’s second selfproduced full-length album.

Venom & Faith emerged in November 2018 as a quintessentially Larkin Poe record, combining a warm nostalgia for the golden days of Nashville blues with flavours of rock, soul and contemporary percussion techniques.

“We like to bring elements of the 21st century into what we do,” says Rebecca. “Artists that aspire to be a time capsule – we find that limiting. That’s certainly something we want to steer clear of. We want to be authentic with people, and being authentic requires digging deep into yourself and figuring out how you’re going to bring your small piece of innovation into the picture.”

When travelling abroad, Larkin Poe are proud to become representatives of some of America’s most unique and distinctive genres.

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“The most enjoyable shows depend a lot on the audience, and the audiences that come wanting to have a good time and wanting to participate,” says Rebecca. “That back-and-forth between us and the audience is what really gets us going.

There’s audiences that come out, singing the lyrics back to us, and everybody’s having a good time – it’s energetic and joyful.

Those are performances that we tend to remember, and that can come from 20 people or 2,000.”

While the band look forward to touring alongside other blues artists in the future, they’ll first have to survive a grueling international tour supporting Venom & Faith.

“I hope listeners take away a king-sized portion of joy,” Rebecca says of the record. “Megan and I had so much fun making the record, and I think you can hear how happy we were. It was difficult, of course, and there were tears shed, but we really had a great time as well. Isn’t that the main goal of music: to elevate the spirit? To give you a mirror - to see a different part of your own story?”

BY ZACHARY SNOWDON SMITH Larkin Poe will play Oxford Art Factory and Howler on Monday April 22 and Wednesday April 24 as well as Bluesfest on Saturday April 20 and Sunday April 21.

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MUSIC INTERVIEWS Periphery IV: Hail Stan is the latest chapter in the story of Periphery and the first to be released by the bands own label 3DOT Recordings. Speaking with guitarist Jake Bowen, he says the biggest change is now having more time and freedom when it comes to putting albums together.

“Working with Sumerian has been a great experience. They let us do whatever it is that we do and I think the biggest thing that changed is just we can now take time with things, as much time as we want. With Periphery IV we were able to say to ourselves at one of our “company meetings” we’re just going to work on this until it’s done, how about that? Everyone was on board and I think the album is better because we were able to put in more time. Not to disparage any of our previous work, I’m really proud of all our albums, but to have as much time as you want to work on something, it’s just very liberating in the sense then.”

Periphery IV has all of the signature sounds of the band: immensely heavy, technically proficient and beautifully melodic. All of these bases are covered in the album opener ‘Reptile,’ a 16 minute opus that truly showcases the full dynamic range and breadth of the band.

Periphery Retain Their Focus Periphery have always been a band that played by their own rules. The DIY nature of the band is just as strong if not stronger than it was at the beginning, and it only continues to propel them further and further with every release.

“It was the first song we wrote for the record,” Bowen says of ‘Reptile.’ “The first thing we said after we finished it was, “Why don’t we just open the record with this?” We loved it so much and it kind of set the bar for the rest of the album.

It just kind of made sense. When we sit down and end up writing a song it’s never deliberate but because of the length of the song, it’s just kind of this thing where it’s on a roll with writing and the song never quite felt finished and then by the time you have a 16, 17-minute song put together, you do kind of run the gamut of the sound of the band just by the nature of how long it is.”

Periphery has always been widely known as a band of gear nerds, made evident by the fact that each guitarist in the band has a different signature guitar and set of pickups in addition to the band members’ own companies and products.

Every member of the band has well and truly cemented

And he’s been busy, he says, preparing for The Painted Progression tour which kicks off next month with special guests Caligula’s Horse, Beyond Creation, Allegaeon and Rivers Of Nihil on the bill. This tour could almost be a mini festival given the colourful line-up, and it’s one that will complement the sound of Urn, Ne Obliviscaris’ 2017 album for which this tour marks the end of its cycle. “We wanted to do another Australian tour toward the end of the album cycle,” says Xen. “2017 may have been a little too early for people to have digested it properly.”

“We want to play with bands we’re friends with and ultimately, we were looking to have at least one band from overseas to support us on this tour because we like helping other bands have opportunities, considering many haven’t been to Australia.

Ne Obliviscaris Continue The Progression There’s something both profound and poetic about the way Ne Obliviscaris frontman Xen conducts himself. In his manner, in conversation, philosophies and eloquence – not what you’d expect from a progressive metal band, but 16 years of the Melbourne outfit, we’re used to it by now.

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It’s been two years since the release of Urn but it’s easy to recall the split duality of sound, a motif that was courageously creative. At this stage, there’s still a lot to share and to unravel from the album in a live setting. “Especially when we first released Urn we weren’t necessarily familiar with the material live – it’s a different experience in the studio live,” says Xen. “Performing live they take on a whole different life. Now we’re really comfortable with it, [having] played 100, 200 shows, or whatever, I think people can see how it’s meant to be represented.”

Because Ne Obliviscaris are already at working writing album number four, this is the only opportunity they have to get the live experience of Urn out to the masses.

“We’re concentrating on recording in September,” says Xen. “Then you’ve got the dilemma of the time of the year that you’re releasing it. Ultimately we’re looking at release in the new year.”

The band’s output has been fairly steady since their inception, even if their journey has been a little rocky. Far past the controversies brought upon Ne Obliviscaris by a former member, Xen can safely say the band are in a more grounded place now that they’re not being stifled creatively. “Every band has their ups and downs,” he begins, reasonably. “It would be silly of us

themselves as a modern day influencer when it comes to the music equipment and technology community. Bowen says that these side projects have been a huge part of keeping Periphery sustainable as a full time thing.

“There’s all this stuff that we do and it all kind of orbits Periphery. Not a lot of bands get to have that opportunity so we see how special and rare it is. Every one of us takes advantage of it because it’s really the smartest way for us to make a living because I don’t know if it would be possible from just the band alone. Periphery makes it possible and then that stuff makes Periphery possible because we’re able to do this for a longer period of time.”

A huge part of what has kept Periphery together for well over a decade at this point is the kinship between the members. The recording process essentially see the entire band move into guitarist Misha Mansoor’s apartment for a time as they bounce ideas off each other and construct the record together. That’s not an easy feat for any band, but Bowen says it all comes down to the chemistry between the members.

“Misha, Mark, Spencer, Matt and I have a certain chemistry.

It’s a bit of an X factor sort of thing and I really like that.

I can’t even express how lucky I feel that I have that with these guys because not only do we have musical chemistry but we also have like that family chemistry where they’re my brothers and I like hanging out with them. I consider their family my family and vice versa. There’s all this special stuff that comes along with just having these specific people together. It’s very important as a band.”

BY NICHOLAS SIMONSEN

Periphery IV: Hail Stan is out now via 3DOT Recordings/Roadrunner Records.

to think that losing members would affect the creativity of the band.

“For one person to affect us that way isn’t what we’re about, we’re about a more collaborative experience and everyone has input in or new sound. Having a new bass player [Martino Garattoni] since just after Urn, having fresh ears and fresh feel to our music will create a new and somewhat different aspect to our music.

“If anything, at the end of the day, it’s a much more positive experience knowing you can soldier on through any setbacks that you have. We’re proud of how we’ve moved along and I guess we’ve not only proved to ourselves but to others that a band is about each individual.”

Ne Obliviscaris’ music has always been devastatingly creative and is metal of the most intricate – this is the palette they’re currently working with, but Xen says there’s always room to step outside the box. “We’re six very individual people, none of us are very a like at all. We’ve that many different influences and backgrounds, we do pretty much what we want in regards to music – for us to be stuck on writing would ultimately be the end of the band, I think.

“People have an idea of what we sound like but we can pretty much do anything, I think, with all the different elements.

People listening to us, it may sound different but at the same time, there will be a particular element in our sound which people will know is us.

“I think people are expecting us to be unexpected in what we do.”

BY ANNA ROSE

Catch Ne Obliviscaris on The Painted Progression Tour with Caligula’s Horse, Beyond Creation, Allegaeon and Rivers Of Nihil next month.

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DUFF MCKAGAN PENS A NEW CHAPTER Duff McKagan is a hard man to pin down. The revered multi-instrumentalist, mostly known for his tenure as the bassist for Guns N’ Roses in their late eighties heyday has also enjoyed considerable success performing with the likes of Velvet Revolver, Jane’s Addiction and Loaded. To top it all off, he’s even a New York Times best-selling author. But when McKagan picked up the pen to start on his fourth book last year, things quickly took a different turn.

“I was actually intending for this album to be a book,” says McKagan of Tenderness, his forthcoming solo record slated for release in May. “I’d written a few words which I thought might be the first chapter of a new book, but instead they became the start of these songs.”

Eschewing his previous dabblings in alternative rock for a countrytinged Americana sound, Tenderness sees McKagan tackle everything from clickbait and conspiracy theories to travel and tragedy throughout his lyrics. While the album certainly bears an aura of contemporary urgency over its eleven track runtime, McKagan strays from labelling it a political record.

“I don’t know if you want to call it politically charged, it’s just more of a reflection of our reality right now,” McKagan stresses, describing how his reunion with Guns N’ Roses for the Not In This Lifetime tour influenced the creation of the album.

“It’s sort of a concept record of the things I experienced touring the planet with Guns N’ Roses, which was probably one of the most interesting times in modern history – not just in America but everywhere,” explains McKagan.

Over the last 35 years of touring and travelling around the world and talking a tonne of people, I’ve come to realise that we’re so much more alike and we have so much more in common than anything that could possibly separate us, and this record kind of just aims to highlight that fact.”

Inspired by the likes of Paul McCartney, ELO and Willie Nelson, McKagan wrote, recorded and produced his forthcoming solo

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venture in conjunction with alt-country luminary Shooter Jennings, whose band also perform most of the instrumentation across Tenderness.

“It wasn’t an arduous, long process. The songs were there, me and Shooter arranged them, the band came down to record and before we knew it we were mixing,” McKagan says of the recording process, acknowledging Jennings’ monumental contribution to the development of the album.

“What he does with organs and keyboards and synthesisers, the way he thinks about music, is really something to watch. It’s so special being in the same room as him. He almost goes into a trance and you’ve just got to stand back and watch him bring out what he’s brewing in his head.”

In addition to performing vocals on all tracks of the album, McKagan also handles acoustic guitar and bass duties across Tenderness, highlighting his strengths as both a songwriter and multi-instrumentalist.

“I’m definitely more of a bassist, but I’m certainly not any less of a guitarist,” McKagan says, discussing how taking music lessons as an adult helped him to recalibrate the way he thinks as a bassist.

“I took some bass lessons from Scott Shriner from Weezer, he’s an MI graduate and a monster bass player,” McKagan recalls. “He was teaching me about theory and a couple of other things, but as much as I wanted to know. I don’t want to get too deep into theory where I start thinking too much about what I’ve done in the past or what I

want to do in the future, or what is right or wrong. I just want to know my neck better.”

Potentially due to the overbearing influence of his top-hatted compadre, McKagan’s bass playing is an oft-underrated staple of the sound adopted by Guns N’ Roses in their golden years. Recently, his four string contributions were acknowledged by Fender, who worked with McKagan to create a signature model based on his original Precision Bass Special. While featuring some modern additions, including a Hipshot Drop-D tuner and an intuitive TBXTM treble/bass expander tone circuit designed by Fender, McKagan considers it a faithful tribute to his eighties workhorse.

“It’s got the same Seymour Duncan pickups as my Special, as well as a Jazz Bass neck like the Special, but with block inlays,” McKagan explains. “It’s a new-old me in the form of a bass.”

As well as celebrating his influence as an instrumentalist, McKagan’s new signature bass is also a testament to his legacy as a member of Guns N’ Roses, with McKagan expressing the elation he felt by finally reuniting with Slash and Axl Rose as well as hinting at the possibility of a new record from the tumultuous threesome.

“I mean, we just got off tour after two and a half years, so don’t expect anything too soon,” laughs McKagan. “But yeah, there’s some stuff brewing for sure.”

“Since we got back together, some of the best things that have come about is just from the three of us talking again – that was long overdue, and the way we approached it on this last tour was pretty great,” McKagan says, his voice notably rich with pride. “To get rid of all the negative shit between us and have it all gone really provided me with a sense of intellectual sobriety, which was astounding.”

BY WILL BREWSTER

Duff McKagan’s Tenderness is out Friday May 31 via Universal.

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STUDIO FEATURE

How to create and release your first track For our first in a series of five articles, Melbourne producer and engineer Simon Moro gives his expert view on the fundamentals of pre-production. The series will continue over Mixdown’s next four issues, covering tracking, mixing, mastering and the other essential components for optimally bringing a track to life.

Moro’s studio experience dates back nearly two decades. He studied Sound Production at RMIT in 2000 and before that he’d experimented with his stepdad’s Tascam fourtrack and Roland TR-707 drum machine.

“I still remember one of the first studio production lectures at RMIT. It was led by Michael Pollard who’s a live engineer for artists such as Meg Mac and Ross Wilson. He started talking about compressors, consoles, effects. At that moment I knew I wanted to be involved in studio engineering,” Moro says.

Moro has worked with indie-pop acts Stonefox and Ariela Jacobs, acoustic and folk artists Mike Waters and Jemma Nicole, symphonic pop singer Anthony Callea, rapper Sole Option and stacks more. He insists on pre-producing every track by every artist he works with.

“Pre-production is where the song selection and the overall sound are determined, composition issues are addressed, production

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decisions such as which studios will suit the desired sound, session player selection, schedule and final scope of work are signed off,” Moro says.

Preparation, clarity and the right team are essential for a production that hits the mark.

“I’m committed to understanding an artist’s vision, to help them clarify their intangible creative concepts and transform the ideas into an actionable plan,” Moro says. “I also think it’s important to put the right team together for each project.”

Not all producers are involved at the preproduction stage. Some will only come in for the main recording sessions and assume a fairly hands-off role. Moro prefers a more holistic method.

“The best place to address issues is always in the stage that they occur,” he says. “So fix arrangement problems before recording parts, fix performance problems before mixing, and mix problems before mastering.

“There are so many directions in which a song can evolve. Pre-production is the time for broad brushstroke experimentation and should result in a solid plan of action to bring them to fruition.”

Although Moro typically works with artists from across the genre spectrum, the initial process of pre-production is similar for most artists.

“The first question is, how strong is the song?” he says. “The process has to start with composition. If the composition is weak, at the end of the production process the result is a very expensive, slick-sounding, average song.

“It costs just as much time and money to produce an average song as it does a good one. So getting the composition, then arrangement, followed by orchestration right is vital in the early stages.”

Demoing is an essential part of preproduction as it allows you to analyse and pick apart the track. The labour intensity of this process can differ depending on the style of song.

“From a pre-production point of view, I’d say acoustic/folk songs would have a simpler demoing stage,” Moro says. “Very often a guide vocal and guitar or piano part is enough, whereas an indie/pop record may require much more fleshed out demos.”

The ultimate purpose of pre-production is to develop a clearly defined picture of what needs to happen when you move into the tracking and production phase.

“It’s about having the composition down, a few production references, then booking the right studio to record in with the players most suited to the songs,” Moro says.

“Sometimes I may only need a few hours per

song, especially if the song is strong and production relatively straight forward. For example, if it’s a folk/acoustic record, I’ve made enough of them to know what’s needed and how to proceed and I can draw on that experience and the process is quite efficient.

“On the other end of the spectrum, in more of an indie/alt/pop record, there is often a lot of experimentation and time to reflect and revise. Ariela Jacobs and I spent a few months in pre-production on her latest releases. We worked on the demos, refined the sounds, structure and arrangement for quite some time. But at the end of preproduction the feeling was the same as those half day sessions – a feeling of confidence moving on to the next stage.”

BY AUGUSTUS WELBY To find out more about Simon’s work, head over to his website at www.ninetynine100.com/

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ADVICE COLUMNS

AUDIO-TECHNICA TURNTABLES:

WHICH TURNTABLE IS RIGHT FOR YOU? The turntable revolution is alive and well. Whether you’re a seasoned collector of all vintage vinyl you can get your hands on or a bright-eyed music enthusiast looking to expand your listening horizons, there’s a turntable out there to enable your newfound addiction. Chances are, you’ll find exactly what you’re looking for in Audio-Technica’s newest range of premium turntables. It’s one of the company’s biggest product rollouts in history and covers all the bases for vinyl aficionados. All you need to do is find your perfect match.

LP60X ($249) RECOMMENDED FOR: Fans of the AT-LP60 looking towards the next generation.

Audio-Technica’s LP60 has become a resounding favourite amongst audiophiles for its superior sound quality and innovative features – and for good reason.

Naturally, releasing such a well-received product meant ATH had risen the bar once more. The challenge was set to launch a new product to appease the demand for greatness, and the LP60X more than answers the call.

Features include a redesigned tonearm base and headshell for improved tracking and reduced resonance, a built-in switchable phono preamp and the option of playing both 33 1/3 and 45 RPM records. There’s no doubt the LP60X is shaping up to be a serious player in the entry-level price bracket, offering total ease of use for everyone from those making their first foray into the world of vinyl to long-time record collectors.

If you’re looking for supreme sound quality at an affordable price point, it would be foolish to overlook the LP60X.

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LP60XUSB ($269) RECOMMENDED FOR: LP60 fans who can’t go without endless connectivity.

The age-old argument that everything sounds better on vinyl hasn’t lost any traction over the past few decades. There’s something about placing a record on the turntable and lowering the tonearm that adds another dimension to the music.

The drawback, of course, is the lack of portability inherent in this process.

Thankfully, the wonders of modern technology ensure even the most rare and valuable record can be digitised, and this is where the LP60XUSB truly excels.

The AT-LP60XUSB is a fully automatic beltdrive turntable that offers the best of both worlds, granting listeners direct high-fidelity audio or the option of converting your record collection to digital. It offers the same premium features as the LP60X, including the redesigned tonearm base and headshell for optimal performance, with the added bonus of USB connectivity.

LP60XBT ($299) RECOMMENDED FOR: Everyone who waited patiently for the ATH-M50xBT headphones; the turntable-Bluetooth equivalent has arrived.

Bluetooth connectivity is the way of the future. Now more than ever, consumers are seeking wireless options for all of their favourite devices and consoles, ensuring entertainment is as accessible as ever. AudioTechnica is particularly well-versed in this area, having revealed the Bluetooth version of the ever-popular ATH-M50x headphones to widespread acclaim. They’ve taken this approach and applied it to this next turntable in the new range, the LP60XBT. This turntable sees Audio-Technica offer the convenience of wireless operation, without compromising on sound quality. Features follow the same pattern as those included

with the AT-LP60X and offer a CSR BT chipset to connect to devices that support the aptX codec. A true highlight is the endless versatility presented in the LP60XBT, namely the option to not only enjoy the wireless technology available but to also have the choice of operating the device as a conventional wired turntable. What more could you need?

enhanced functionality. The new version offers a DC servo direct-drive motor, adjustable dynamic anti-skate control, an HS6 headshell, and selectable phono preamp.

The construction is second-to-none, boasting a damped base for reduced low-frequency feedback colouration, plus an external power supply that will grant listeners the added bonus of reduced electrical noise.

LP2X ($399)

Versatile functions ensure this fully manual turntable is equipped to play 33 1/3, 45, and 78 RPM records. A USB output is also featured on the AT-LP120XUSB, allowing direct connection to your computer. Enjoying your vinyl collection has never been this easy.

RECOMMENDED FOR: Adding a talking point to your home stereo system.

If you’re in the process of setting up the ultimate home stereo system, there are a few considerations you’ll no doubt be keeping in mind – achieving the desired aesthetic, choosing complementary products and generating high-quality audio, for instance.

At the heart of your home stereo, you’ll generally find a centrepiece you’ve designed the whole system around. It’s the talking point you wanted and the piece of equipment you wouldn’t dream of leaving in the store.

The LP2X is a worthy contender to be the glue that brings your home stereo together.

This fully automatic belt-drive turntable features a new balanced straight tonearm, with hydraulically damped lift control and tone armrest, built-in switchable phono/ line preamp, an anti-resonance die-cast aluminium platter and felt mat and a removable lightly-tinted dust cover. Options for add-ons or upgrades for the turntable’s key features are also available. Combining world-class build construction with stylish features ensures the LP2X is more than just an idle piece of art; it’s the sound system you’ve been waiting for.

LP120XUSB ($599) RECOMMENDED FOR: Anyone who appreciates a quality update.

The AT-LP120XUSB arrives as an update of the acclaimed AT-LP120-USB, kicking things up a notch with a host of new features and

LPW40WN ($649) RECOMMENDED FOR: Those who want their turntable to sound as sleek as it looks.

Audio-Technica isn’t a company to rest on its laurels. When you’re constantly striving for innovation, excellence is sure to follow.

This is exactly the case with the LPW40WN, a turntable that is unlike anything we’ve seen from ATH before.

This fully manual, belt-driven turntable offers a plethora of enviable features, including a straight-line carbon-fibre tonearm with adjustable tracking force, VM95E cartridge and AT-HS4 headshell. The high-fidelity audio is supported by a speed stabilised DC servo motor for accurate rotation speed, while vibration-absorbing feet ensure you can enjoy uninterrupted sound with ease.

Further additions of an AT-VM95E Dual Moving Magnet phono cartridge and built-in selectable phono preamp are the icing on the cake for this ATH design.

To cap it all off, the LPW40WN is perhaps the most striking turntable in the range, offering an instantly eye-catching walnut veneer finish that will find a place in any home stereo setup.

BY JESSICA OVER

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PAGE HEADER

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ADVICE COLUMNS

MUSICOLOGY:

WHY THE VINYL RESURGENCE IS HERE TO STAY It’s been a whole century since the first vinyl records arrived to shock the world and revolutionise the recording industry. For most technologies, such an extensive period of time would no doubt render the original design extinct.

Modern developments almost always replace old innovations, yet vinyl has managed to avoid an untimely demise time and time again. In fact, it’s kicking goals.

The vinyl revival is no secret. These days, you’d be hard pressed to find a household without a record collection gathering dust in the corner or taking pride of place beside a cherished turntable or two. Past generations have passed on the baton, encouraging a love for a technology that will never say die.

The age-old argument that “vinyl sounds better” gains momentum with each indie musician looking to start a debate, and happily reignites a love for record collecting in past, current and future generations.

For every person who has valiantly defended the vinyl record, there’s another who vehemently denies its relevance. But to create a sense of harmony between both sides, it’s essential to understand the argument. Believe it or not, those who proclaim that vinyl is always better have actual points on which to base their opinion, and they’re difficult to ignore.

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SOUND QUALITY Is it an urban myth or a universal truth?

Does vinyl actually sound better than CD/ cassette/streaming/whatever Apple invents next? Chances are you’ll find a different answer from every music lover you ask, but it’s hard to deny there’s something there.

Consider the fact that this form of listening which, by all accounts, should’ve been outdated years ago thanks to innumerable technological developments, is still going strong. Fundamentally, this can be chalked up to a superior – or at least, more authentic – sound quality.

The sound of a vinyl record is something all of its own. Sure, everyone loves the crisp polish of digital tracks, but when it comes to character, vinyl can’t be denied. When subtle nuances and pure authenticity are what you’re looking for, it’s difficult to look past the humble record.

ALBUM ARTWORK Take a moment to consider the artists behind album artwork. To put your blood, sweat and tears into this one piece of art that will go on to define a collection of music for the rest of time is both a daunting and rewarding experience. Until somewhere along the course of music history, someone decided to shrink an LP to this tiny CD-sized casing and subsequently reduce the artist’s canvas. It’s a travesty.

Thankfully, all you need is some time to spare and a selection of vinyl to dive into for a chance to truly appreciate an album’s

visual accompaniment. Artists have enough trouble with recognition as it is – a 12” record presents an opportunity CDs just can’t offer.

ACCESSIBILITY One of the greatest and most underrated aspects of record collecting is how accessible it is for anyone to pick up. Sure, if you’re hunting for the limited-run, deluxe track, colour-coded collector’s edition of your favourite album, chances are you’ll have to hand over half of your pay cheque to call it your own. But if you’re starting out small and simply wish to populate your collection with anything you can get your hands on, you’re in luck.

Most vinyl from record stores is generally quite affordable, but you can kick it up a notch and find some serious bargains at your local op shops. Spend some time in any second-hand store and you’ll find absolute gems hidden amongst the donations.

CREATING A COLLECTION There’s something inherently satisfying about owning a complete set of one particular thing. Record collectors will place their time and money into curating the most comprehensive collection money can buy, searching for each piece of the puzzle with unrivalled determination. But the final product makes it all worthwhile.

or digging through milk crates at a local market; whichever the case, the chase is part of the excitement. There’s no feeling quite like finding that one record you’ve been looking for – just ask any collector.

THE PERFECT GIFT Gone are the days of snapping up an iTunes gift card and calling it a day. Giftgiving is an art and as such, it requires a bit of thought behind it. Tread a careful line between “easy” and “heartfelt” by diving into your local music store’s record collection. You’ll find the perfect choice in no time at all.

TIMELESS New technology will come and go. It will appear and fade like the ephemeral medium it is, yet it seems vinyl is immune to this life cycle. Its popularity endures long after the “best before” date and continues to thrive among its modern counterparts.

Perhaps there will come a time when listeners proclaim cassettes or CDs to be the truly authentic forms of music, but it’s doubtful. There’s just something about vinyl.

It’s here to stay.

Besides, it really does sound better.

BY JESSICA OVER

Filling in the blanks of a collection is part of the appeal. You could be importing an incredibly rare release from overseas

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ELECTRONIC MUSIC PRODUCTION

Contrary Motion & Counterpoint It’s easy to fall into the trap of all your instrumentation doing the same thing melodically, so this month I’ve got a couple of musical concepts for you that might sound a little intimidating, but are really quite simple – you might even be employing them unknowingly already.

Contrary motion and counterpoint tend to be used mostly in composers’ vernacular, but they’re concepts that have a place in just about all genres. Being aware of them as tools, particularly as an electronic producer creating the instrumentals for an entire track, can certainly be valuable.

Contrary motion is simply the practice of having one melody ascending while another is descending. The most common use of this trick is over the bass line and lead melody line, the bass line using octaves and harmonies of the lead line. This adds a layer of complexity and tension to the piece of music, rather than simply having a bass line predictably follow your lead melody. So keep that in mind next time you’re working melodies, pick a scale and see if you can create two voicings that run away from each other in your chosen instruments.

Oblique motion is a related concept, and defines the action of one instrument playing a single note while another goes in any direction. You can hear this a lot in cheesy rock songs; a bass player chugging away on a G while the lead guitarist shreds up and down the fretboard, but that’s not to say you can’t apply the concept creatively in electronic music.

Counterpoint is another melodic concept, and it’s one that you can certainly use contrary motion in. At its root, it boils down to multiple independent melodies playing at the same time.

A lot of classical music is extraordinarily busy – there are melodies going on all over the shop – classical composers loved a good counterpoint melody. In contemporary music, you can apply this concept to a secondary main melody coming in to add depth and drive to your music. The idea works well when the melodies are rhythmically and melodically independent but resolve to be on your root note (or note within a chord structure) at crucial points – like the end of a bar for example. In between those crucial points though, you can have fun and be creative.

Hopefully those concepts help get you away from playing ‘follow the leader’ with your melodies and song arrangements. Get experimenting and enjoy!

BY MICHAEL CUSACK

SONODYNE SRP 400

is now avaliable at Hills

active reference monitor

"For a little speaker it has an amazingly good bottom end … even better is that you don’t listen to the speaker at all, you just listen to the music"

JOSH BLAIR

Producer/ Engineer (Bruno Mars, Beyonce, Duran Duran)

The new standard in near field monitoring

For more information on these and other best-in-class solutions from Hills call us on 1300 HILLS1 (445 571) or visit hills.com.au

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E N T E RTA I N

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ADVICE COLUMNS GUITAR

BASS GUITAR

More Altered Scale, V chord ideas

More odd times

Getting into some more advanced sounds, we looked at playing the Altered scale over V chords last month.

A quick recap – the V chord in a C Minor Blues (Figure A) would be G7 (G-B-D-F). A lot of players would just play C Minor Pentatonic (C-Eb-F-G-Bb) over the whole progression. This is a very common sound that we all know and have heard a million times. It works and can sound great. The issue with this however, is a couple of the notes from C Min Pentatonic might not be a good fit over G7. And probably more to the point – many players just noodling away on C Min Pent might not be aware of the chords underneath/not be aware some of the notes don’t technically fit/be oblivious to the sound they’re producing playing over these chords.

Looking at the time signature 3/4 last issue we took some simple steps to establish a strong feel and then incorporate more rhythmic variety. So, with that under our belts let’s move onto 5/4. Used in jazz, rock, fusion and classical music amongst others, it’s obviously an odd time signature.

It can definitely groove though and with some work can become a fun tool for composition or jamming.

Let’s use the Paul Desmond standard ‘Take Five’ as a starting point (Figure A).

Ebm7 is played for 3 beats before changing to Bbm7 for the last 2 beats of the bar (giving us five crotchets in total). This is repeated for the first 7 bars of the A section but let’s just play it as a four bar grouping for the meanwhile. Try playing crotchets on the root notes (Eb and Bb) as a start and get used to hearing and feeling the chord/note movement. This division of 5/4 into 3 beats and 2 beats is very common and accenting beats 4 and 5 can really solidify your feel.

Let’s then add to the accented beats of 4 and 5 by moving from the root note on Bb (Figure B). We now have the Eb root note for beats 1, 2 and 3 moving to the root note of Bbm7 on beat 4 and then a Db on beat 5. Give it a shot and hopefully you’ll hear that even just the one note change adds movement and reinforces the feeling of 5.

C-Eb-F-G-Bb (C Min Pent) G-B-D-F (G7 chord) Compare the notes above….anything that sticks out? Bb and B potentially clash as a starting point. Yes, it’s all taste but what might sound better to your ear as the B natural over the G7 chord. As mentioned last issue G Altered has both Bb and B natural and when used in conjunction they can create a cool sound such as the one shown in Figure B. This lick could be used over a G7 chord (the last bar of a C Minor blues resolving from G7 back to Cm for example).

With beats 4 and 5 locked in let’s play with the rhythms over Ebm7 (Figure C). Bar 1 holds the Eb for 3 beats whilst Bar 2 adds some syncopation with two quavers, a quaver rest and then a tied Eb again on beat 2+. Bar 3 is a similar idea but with a dotted crotchet on beat 1 (instead of two quavers) and Bar 4 mixes things up by not playing beat 1 (instead coming in on the 1+).

Figure C uses E Altered and plays both chord tones and altered notes (b9/b5/#5) to add tension. This example sounds a little more ‘out’ and has a jazz fusion flavour to it. Try adding some distortion and playing over a straight funk groove. Think Weather Report, Frank Gambale, Chick Corea, Tribal Tech, Oz Noy, Mike Stern…

These examples in Figure C add some movement whilst keeping beats 4, 5 and the overall 5/4 feel solid. To create even more momentum you could try walking through these chord changes (check out Figure D). Constant crotchets and quavers keep the bass line moving ahead and add some emphasis to the chord changes (always landing on a root note on beats 1 and 4). This use of the root note helps state the chord with the rest of the line moving towards the next chord. You can try using other chord tones (1, b3, 5, b7) for different sounds and of course mix up the rhythms (with rests) for more variation.

One of the keys with making the Altered scale sound hip is resolving the line/lick, and doing it at an appropriate spot. You can prolong the tension and really push the listener’s ear (and perhaps the rest of your band who might react accordingly and continue to push the harmony too). But it’s always a nice feeling to then resolve the tension. This is what the masters seem to balance beautifully with sounds like the Altered scale. And of course, this can work in all styles/tempos/feels/genres. Country and western swing players are great at playing Altered sounds – especially some of the lightning fast chicken picking virtuosos. Let’s have one more look at the Altered scale next issue and load up with some longer licks that work over a range of chords (not just the Dominant 7 V chord).

This is just one small excerpt from one tune! There are great examples of 5/4 in rock/funk/ jazz/heavy metal too. More odd times next issue.

BY NICK BROWN

BY NICK BROWN

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PERCUSSION

Pop Reggaeton Applications There’s a bit of a trend these days that combines Latin type groove influences in pop music. One of the most popular applications is something called reggaeton. The style itself isn’t new and has been a staple for many years, particularly overseas in South America, and can be heard in Latin clubs combining RnB with Latin music; however, we’re now hearing artists like Ed Sheeran (‘Shape of You’) or even Justin Bieber (‘Sorry’) using this type of groove in their pieces. But what is reggaeton? I thought I’d share some basic applications and some variations to play with.

Figures A and B show the two basic variations I come across most of the time. The first one has a heavy push on the ‘a’ of 1 and 3 on the snare drum. The second variation has the emphasis on the same ‘a’ of 1 and 3, but on the bass drum instead. These don’t take too long to get a feel for, and from here there’s a bunch of different ways you can interpret and expand on them - and since it’s pop music, anything goes. This isn’t a traditional, Latin-specific exercise today. As you’ll also notice, the basic framework is only two beats long and is repeated.

If you look at figures C through to F, you can see our two main motifs with basic hi-hat patterns added - both quarter notes and eighth notes. This gives you a nice feeling of where the groove sits and how you can feel it. From here, there are only very minimal alterations to the bass and snare parts, but

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the hi-hat can be a little freer, drawing influences from salsa and cascara patterns.

There’s even a bit of rumba in there.

Figures G, H and I are centred around Figure B as the base. Figure G simply shifts the hi-hat to mimic the bass drum part, giving a very solid but spaced groove with a heap of room for variations later. Figure H starts to be influenced by the traditional cascara pattern - albeit only a section of it - but it really starts to add another element to the groove and emphasises the 16th subdivision a little more. Figure I is exactly the same as Figure H with the exception of a ghosted snare drum after the first bass drum. Again, a simple addition, but it adds some dynamics to the bottom part and further supports the 16th subdivision. Overall, these variations feel good and this helps the band to feel the groove, too.

Our last two figures are centred on Figure A as a base. Figure J again uses the cascara as an influence just like Figure H. The feel created is similar, but the snare drum part is ultimately the only main difference. Another point of difference, however, that really changes this groove is that I’ve added bass drums to give a ‘four on the floor’ feel - bass drum playing on all four beats. This creates more of a dance vibe at which point the hands can be freer to play around because you have such a strong ostinato happening in the feet. You could double the hi-hat in

the left foot with the bass drum and play the hi-hat/right hand part on the ride cymbal or cowbell for example. The very last figure (K) is what I typically play for a rumba-type groove. It may not be 100 percent authentic, but it’s what was taught to me to play as the drummer. The percussionists in a salsa band will be playing other parts and this groove supports them. That said, in pop applications, it works really well. You can see the bass drum and snare drum parts carried over from Figure J, but we employ a ‘16th note alternating hands’ disco-type vibe on the hi-hat. The only difference is that instead of playing a back beat, we’re coming down to the snare drum on the ‘a’ of 1 and 3 and the ‘and’ of 2 and 4 as per the original reggaeton groove from Figure A.

These are simply my ideas taken from years of experimentation and working with other musicians. You can really muck around with these as the applications are not traditional, nor are you going to get into any trouble.

That said, I’m definitely drawing on some Latin/salsa influences here. As mentioned, you could substitute the right hand to the ride cymbal, cowbell or even the side of the floor tom. Perhaps you could play the whole cascara pattern on the hats. You could be crazy and play a clave pattern with your left foot. As I said, there are options and no strict rules. Have fun!

BY ADRIAN VIOLI

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PRODUCT REVIEWS SE ELECTRONICS

V Series Drum Mics SOUND & MUSIC | SOUND-MUSIC.COM EXPECT TO PAY: V KICK – $399, V BEAT – $299, V CLAMP – $69

Mixing a drum kit in either a studio or live setting is never easy. Even in the confines of a studio, cabling is still a massive headache and often requires crafty pre-planning to ensure no one trips over a cable that’s plugged into a precariously angled expensive overhead, or snare microphone perfectly placed for maximum room and impact. sE Microphones, in their endless quest to provide working class products at great prices, have begun to solve this problem. The V Series of drum microphones are a kick and snare mic, as well as a well-designed mic clamp to save floor real estate with excessive mic stands and cabling. Both the V Kick and V Beat (designed for snare and toms) mics are small in size but large in sound - something that a lot of microphones designed specifically for drums try and fail to be. Both are dynamic supercardioid mics and sound familiar with a modern edge.

The V Kick vaguely resembles the sound of a Shure Beta52 with different voicing options. The V Beat is vaguely reminiscent of a Shure SM57 or Audix i5 in a much smaller size and with a rounder sound.

Both mics sound especially modern but remain dry enough to take saturation and effects well if that’s not your thing.

The V Kick and V Beat are both dynamic supercardioid mics with aluminium voice coils and are both fairly lightweight. The bandwidth for both mics ends at 19kHz and the lows at 20 & 30Hz for the V Kick and V Beat respectively. The V Clamp is a

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short clamp with a thread for mic clips on it, and an elastic clip to be placed on the rim of a snare or tom, instead of having a full mic stand for a snare mic and each of the three/four toms. The advantage of this, similar to using mic clips live, is that when the drum is struck, the mic moves with the drum so there’s no momentary phase issues or drop in level. For other instruments that aren’t being bopped around, the V Beat is also great for guitar and bass cabinets or spot mics on horns.

With an incredibly low noise floor, the V Beat is great for capturing strong dynamics in drums but also the nuances of trumpets or for emphasising the silence and pauses in modern metal. The silence is what makes things heavy and the V Series capture silence well. With a swivelling head, the V Beat can be mounted anywhere close to a cabinet either in front of or sideways and then aimed at the cone easily, i.e. when using multiple mics pointed at varying angles at the cone. Once you’ve placed your mics, and the internal windscreen has reduced unwanted pops and plosives, the audio travels through gold XLR pins to your recording or playback source.

The V Kick, designed for capturing lower frequencies, is similarly handy but in its own ways. The voicing options of the V Kick are where this mic shines. Switching between ‘Classic’ and ‘Modern’ in either the overall sound or high frequency response leaves us with a bunch of voicing shaping options even before the mic hits

a pre-amp. On the overall control, ‘Classic’ gives a much more balanced sound with little colour or EQ, and is the large kick sound with plenty of the mids that we’re accustomed to in more traditional rock or jazz and country. The ‘Modern’ setting provides a much more scooped sound, emphasising the lows and highs without boosting them. This would be great for more modern rock, pop, hip hop and metal that needs a more aggressive, forward kick sound. The ‘Classic’ and ‘Modern’ setting on the high frequency switches toggle between a mid-range bite on ‘Classic’ or a more spanky top-end on the ‘Modern’ setting with more dynamic and clearly defined transients. The V Beat is a fairly balanced microphone with a great proximity effect that can be used to EQ the snare with a boost around 100Hz, depending on how close the mic is. With some careful placement, you can use a V Beat on snare and toms and EQ them carefully to fit into a mix before touching any faders.

The V Series of drum mics are a great solution for recording or live engineers of any level. While priced as budget mics, these can be integrated into recordings with much more expensive rooms and overheads, with the V Series handling your close mics on an entire kit. Alternatively, multiple V Beats can be your guitar cabinet sound while the V Kick handles the rumble of a bass amp. The V Clamp does your cable management and floor space a world of good while also giving your drummer room

to breathe and focus on their playing rather than avoiding mic stands or oddly placed cabling. The voicing options offer four-five mics in one, and the internal windshield and aluminium voice coils ensure the audio captured is as clear as you need it to be.

The V Series are a complete solution and while they’re a great entry level mic, there’s no reason the tones you can sculpt from the different voicing options can’t end up on big-budget hit records.

BY LEWIS NOKE EDWARDS

HITS ∙∙ Small size ∙∙ Big sound ∙∙ V Clamp saves floor space MISSES ∙∙ N/A

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PRODUCT REVIEWS MARSHALL

Studio Series Amps ELECTRIC FACTORY | WWW.ELFA.COM.AU | ENQUIRE FOR PRICING Marshall are responsible for some of the most iconic amps in guitar history. JTM, JCM, Jubilee, Plexi – the list goes on. For most people, Marshall are associated with louder, bigger gigging amps that can really move some air. Yes, there are some great nuances in the aforementioned amps, but typically they match the stereotype. Aiming to put some of their classic tones into smaller formats the Studio Series sees the introduction of 20 watt models that can be used for home, recording and gigs.

All coming in 20w (switchable down to 5w) the Studio Series lineup consists of the Studio Classic, Studio Jubilee and Studio Vintage, available in both heads and combos. The idea behind the Studio line is that they can be utilised at lower wattages and volumes without the need for an attenuator, making them handy tools for home, practice and recording whilst still having enough juice for quieter rehearsals and gigs.

The Classic, based on the JCM800 2203, takes the heavier EL34 tones that the original was known for and drops them into a smaller unit. Controls for presence, bass, middle, treble while both preamp and master volumes let you balance the amount of amp drive. The rear panel gives plenty of output speaker options as well as a series effects loop and DI Out – handy for recording and

monitoring. The classic resembles a mini JCM800, and arrives in both head and combo format (with a Celestion V type speaker) with the option of matching 1x12 and 2x12 cabs.

1959 was a good year for Marshall and their much revered Super Lead Plexi. Based on this iconic amp, the Vintage model captures the original’s aesthetic and features presence, bass, middle and treble controls alongside Loudness 1 (high treble) and Loudness 2 (normal). The two pairs of inputs are retained with the switchable power now letting you achieve the juicy Plexi tones without having to crank the amp to the high heavens. The Vintage really looks cool and, like the rest of the line, it’s available as a head and combo (win!) with 1x12 and 2x12 cabs available to round out the rig.

Marking their 25th year anniversary, the Silver Jubilee instantly became a hit for its mix of tones, ranging from clean to big overdriven sounds. The 2525 covers that ground with typical EQ of presence, bass, middle and treble adding volume controls for both Output Master and Lead Master alongside an Input Gain control. There’s a pull control on the Output Master to change channels and a pull feature on the Input Gain to give you even more gain if needed.

Again, Marshall have nailed the looks with the 2525, keeping the cool silver tolex and

chrome type faceplate features. Model-wise, there’s both a head and combo but an added cab range of a 1x12, a straight and angled 4x12 loaded with Celestion G12 speakers and two 2x12 cabs (vertical and horizontal) gives you some space saving options. Or simply, it might allow for funky looking stacks, if that’s your thing.

The Studio Series look great. Three solid choices with a range of options and additional cabs. The ability to drop the power and use in the studio with an array of outs really opens up new possibilities that were often not there with louder Marshalls.

The mini factor will appeal to some and the fact these classic tones are available to a wider audience can only be a good thing.

Definitely worth a closer look!

BY NICK BROWN

HITS ∙∙ Classic models in smaller formats ∙∙ Both combos and heads (and additional cabs) MISSES ∙∙ Low power versions are not for everyone

EARTHQUAKER DEVICES

Pyramids Stereo Flanger YAMAHA MUSIC AUSTRALIA | AU.YAMAHA.COM | EXPECT TO PAY: $349 We’re calling it: flangers are due for a comeback. But there’s a lot more to this classic effect than what first meets the eye. Whether you want to emulate Eddie Van Halen to a tee or push the envelope of experimentation further than ever before, EarthQuaker Devices has you sorted with the revolutionary Pyramids Stereo Flanging Device.

With eight modes, five presets, detailed controls (including rate, width, mix, feedback, and mod knobs) EarthQuaker has clearly designed this pedal with detailed tweaking in mind. But while it may be intimidating at first, the selection of presets offers both a great launching panel for further sonic exploration and an easy sound to dial in mid-show. The addition of a variable mix control and stereo outs makes for a worthwhile contemporary update to a classic sound, and adds bucketloads of extra versatility. Built using EarthQuaker’s proprietary DSP architecture, sound quality is pristine and deep throughout. Capping it off is the addition of a tap tempo/trigger control, which makes dialling in rhythmic effects easy. All in all, EarthQuaker has gone all in on this one. They’ve spared no expense in making one of the most inventive, expansive flangers on the market today.

But the question remains: is it overkill?

Of course, that’s where you come in. The Pyramids Stereo Flanger is as useful or as

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useless as you want it to be – the only limit is your own creativity.

Yes, the Pyramids Stereo Flanger can do classic tones with ease. But if that’s what you’re looking to get out of this pedal – and nothing else – I’d suggest you look elsewhere. The players who get the most out of this pedal are those looking to seriously experiment and expand their tonal horizons.

And if that’s what you’re after, you’ve come to the right place.

Utilising the presets is a great way to start defining your own sound. Moving past classic, you’ll find barber pole up, trigger up, step, and random. Each progressively messes with your signal until you eventually find your guitar sounding something more like a synth. I had great success coming up with synth-like arpeggios, randomised bass flanging, and scatter-shot rhythms that would work exceptionally well in electronic music. And that’s part of the beauty of this pedal: flanging is the entry point, but there’s so much more under the surface when you start digging.

At low rate settings, you’ll get the mushy and swirling tones that are perfect to lose yourself in – suited for psych or ambient music. Cranking up the rate, things begin to get gloriously erratic. It’s a surefire way to freshen your approach to the guitar – you’ll find yourself playing and writing things that

you never would have been able to without this pedal. After all, isn’t that what effects are for in the first place? Inspiration pours out of this device, and I’d wager you could spend an entire year discovering new tricks with it.

While it may not be for everyone, EarthQuaker’s Pyramids Stereo Flanger is the perfect purchase for those wishing to take their playing to strange and unusual places.

The world has enough of the same-sounding guitar lines. Why not make something different? If that sounds like you, just start here.

BY JAMES DI FABRIZIO

HITS ∙∙ Stereo output ∙∙ Tap tempo ∙∙ Numerous controls MISSES ∙∙ Not suited for beginners

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PRODUCT REVIEWS vJ A C K S O N

San Dimas Adrian Smith JACKSON GUITARS AUSTRALIA | JACKSONGUITARS.COM.AU | RRP: $1299 Jackson Guitars are a true testament to the needs of metal and rock guitar and bass players. Their instruments are well-built, trustworthy and solid, from the top-of-theline products down to entry-level budget instruments. The USA Signature Adrian Smith San Dimas DK is a Strat-inspired shred machine built to the specs of Iron Maiden’s own axe-slinger. The Indonesian-built San Dimas Adrian Smith also plays beautifully, with a tinted satin urethane finished neck and classy flamed maple finish beneath the white pickguard. It’s comfortable like a Strat, but with the modern trimmings that Jackson has always provided. Leads and licks come easily, and they feel blues inspired, much like Iron Maiden pushing the New Wave of British Heavy Metal. The guitar features a HSS pickup configuration, Floyd Rose Special and Jackson tuners to hold it all together.

The bridge humbucker is a DiMarzio Super Distortion that can be tweaked and blended with the single coils thanks to the five-way pickup selector.

Straight out of the box, this San Dimas feels great. It was in tune and intonated, and it stayed there. While the Floyd doesn’t feature the usual cavity for bending notes up, the bridge still allows a player to add some flair to solos, but retains clarity and tuning stability thanks to the locking nut situated precisely 25.5” away (that’s the number of

the beast, right?). The tinted satin urethane neck is a great addition to this San Dimas, as it feels almost completely unfinished but isn’t so rough that it gets in the way. Sliding up and down and around the one piece bolt-on neck is a dream, and fretting notes on any one of the 22 jumbo frets embedded in the ebony fingerboard is a breeze. The well-placed volume and tone knob are a comfortable distance away, and the pickup selector nestled between them makes for a comfortable guitar whether sitting or standing. The guitar feels balanced and comfortable, and the body sits comfortably against the players torso, with the heel supporting your picking arm.

While playability is one thing, this guitar also shines in its sound. Not only is the anatomy of the guitar precisely positioned to give maximum resonance, clarity and tuning, but the DiMarzio Super Distortion brings the impact and power that DiMarzio and Iron Maiden share in their respective legacies.

The Super Distortion is a passive humbucker used by the likes of Ace Frehley and Paul Gilbert, that is punchy and present without being overbearing, but also cleans up nicely.

It really is the whole package. The addition of two single coil Samariam Colbalt Noiseless pickups makes for a bunch of different sounds available from this San Dimas. You can switch quickly and easily from super spanky

Strat-style leads to thick and present riffs and licks. All configurations of the pickups are entirely useable, and really change the feel and voice of the guitar.

Jackson have really nailed a solid guitar for Adrian Smith. It fits with Iron Maiden’s aesthetic and history, as well as legacy of the Strat-style shape and the San Dimas itself, but retains modern and contemporary finishes and features. The guitar tunes well, and stays tuned thanks to the Floyd Rose Special and its locking nut. The three pickups and five-way selector offer a bunch of great tonal options, and the DiMarzio Super Distortion as standard provides the crunch. This Indonesian made San Dimas provides a bunch of great features in a tight package. For players looking for a more modern Strat, or even a gig-ready riff machine, the Adrian Smith San Dimas could be your next guitar. It looks great, feels better, and won’t let you down.

BY LEWIS NOKE EDWARDS

HITS ∙∙ Great maple finish ∙∙ DiMarzio as standard ∙∙ Floyd Rose Special as standard MISSES ∙∙ No cavity for Floyd

ASHDOWN

AAA 30 Bass Combo PRO MUSIC | PROMUSICAUSTRALIA.COM.AU | EXPECT TO PAY: $299 It’s not always about the big rigs. Yes, the quadbox/fridge/multiple cab/head/modular setup looks and sounds great but there are times when you just need something small and compact to practice with or jam through. Ashdown has plenty of high powered big options in their line with a plethora of studio and touring pros using their wares. But they haven’t forgotten about the need for smaller stuff such too enter the AAA EVO line of combo amps. Let’s check out the AAA 30!

Going for the smaller practice amp vibe the AAA 30 is the smallest in the lineup with a single 8” speaker and 30 watts of power.

Alongside the standard Volume, Bass, Middle and Treble controls there is a Line In and Headphone Out for additional connectivity.

Ashdown have also integrated their ‘Apptek’ feature which allows users to access Ashdown virtual amps and effects via the AmpKit app. The AAA 30 comes in a black buffalo styled tolex which looks the part with a red (almost oxblood) coloured grille adding to the Ashdown vintage stylings.

Yes, you can practice bass unplugged, but perhaps more so than guitar it really helps to have some volume when practising bass to hear the nuances and low end of your sound. This is where a smallish combo really hits the spot. The AAA 30 weighs in around 11kgs making it easy to move from room to room or take to a mate’s place.

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It’s also small enough to sit under a desk or in a corner of your practice room. Then when inspiration strikes it’s just a matter of plugging in and working on your chops or nailing that riff. Ashdown’s 3 band EQ on the AAA is enough to dial in a tone and the 30 watts will give you some plenty of oomph if you’re not going the headphone route.

The AAA EVO range covers quite a bit of range coming in 30, 60, 100 and 120 watt models. Obviously the 30 is a super handy, portable practice amp but if you need some more grunt you can check out the bigger brothers. Ashdown have a strong reputation for tough gear that can take a beating so I’m sure you’ll have no worries with performance of this little number. Whether you’re working on technique or jamming with backing tracks the EVO 30 can give you some good tones at bedroom levels and won’t miss a beat.

BY NICK BROWN

HITS ∙∙ Small and portable ∙∙ Line In and Headphone out MISSES ∙∙ None

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DENON

SC 5000 Prime Pro ELECTRIC FACTORY | ELFA.COM.AU | EXPECT TO PAY: $1699 The SC 5000 is Denon’s formidable answer to Pioneer’s 2000NXS2 and ups the ante with enhanced features, usability and interface. From touch screen controls with an in depth and versatile interface, pads, multi user customising options, double layer audio features and array of input / output options – this is one unit to get excited about and one that raises the bar over the competition.

The first thing I noticed was the inclusion of performance pads on the unit - usually only seen on DJ controllers, these are a welcome innovation. Although the pads are perhaps a little tightly packed together, practise makes perfect right!?

The screen is seven inches in size, multitouch and responsively quick. It gives access to your crates, playlist/history, prepare list, files and a search function. It’s a similar menu layout to what we’ve seen on the Pioneer Nexus so expect to be able to get into it in a fairly quick and intuitive fashion.

The big difference here is the touch screen letting you zoom around menus without having to toggle “back” each time. Because of the multi-core processor, it’s possible to swipe tracks around as you would do on your phone or tablet and that is not only innovative for DJ gear, but it also aligns this product with what we are used to in 2019.

The excellent functionality of the on-screen menus includes a waveform zoom for getting right up tight with your beats and cues and the ability to save multi user preferences such as cues, loops and display settings such as the colour of the jog wheel and personalised images within it.

While nothing new to controller DJs, the double layer feature means that you have two virtual units in one which has the benefit of having four player setups with only two units, or simply being able to mix with complete functionality (including sync) off a single deck. Saving on space and the almighty dollar – it’s a massive plus in anyone’s book, however I’d have to say it’s a slight adjustment to get used to at first.

You’d probably want to have play around with this before attempting to lay it down in a club environment (venue owners don’t expect to lay one deck on an unsuspecting DJ this early in the piece without a few disasters).

No doubt this function will develop and vastly improve in future software and hardware updates. Ideally in this day and age you’ll sooner have to update your software rather than your hardware.

When paired with X1800 Prime Mixer, the Link feature allows for precise sharing of track data between the mixer and the other players and colour coding makes it easy to

know which virtual deck is connected to which mixer channel when using the double layer feature.

All this is powered by the Engine Prime software used to prepare your tracks. This is the software you ideally use to prepare your tracks and other stuff such as cue points and loops.

Improved vastly over earlier versions, it now supports Serato DJ playlist and the importation of Traktor playlists, which adds to the versatility of the SC5000 Prime player.

Engine Prime is actually embedded into the player itself, which makes it possible to plug in media with tracks that have never been analysed by any software and, in real time, detect BPM to set the beatgrid.

The multiple options for I/O give ease for variations on signal flow and allow plenty of flexibility for smooth DJ changes overs. three USB inputs, SD slot and Link port should do you fine.

Both the console buttons and pitch fader are solid and accurate in their responsiveness and I found the layout clean with the lighting and colours sectioning out the different areas of the deck nicely.

Denon has clearly put a lot of time and thought into making this a true all in one

innovation (at least to date), with flexibility, power and at a better price amid a sea of products I’ve found to have nearly everything but not quite.

BY THE KNAVE HITS ∙∙ Big screen with multi-touch support ∙∙ Great jog wheel with LCD screen ∙∙ Reasonably priced MISSES ∙∙ Performance pads are small and close to each other

RADIAL ENGINEERING

KL-8 Keyboard Mixer AMBER TECHNOLOGY | WWW.AMBERTECH.COM.AU | EXPECT TO PAY $1299 Radial is maybe the most well-known company for the more practical side of audio, recording and live performance.

Their DIs (both mono and stereo, powered and passive) are found in venues all over the planet, their re-amp units nestled comfortably into 500-racks in studios everywhere and the Radial logo often sits unseen in the back-end of studio and live rigs; performing tasks night after night, session after session while flashier gear takes the limelight. Radial Engineering products are trusted, and rightly so. Their ingenious, inconspicuous, faithful products provide musicians and producers of all calibers the routing options that turn their wildest tonal imaginations into sound waves. The Radial KL-8 keyboard mixer is no exception, and continues to bring Radials legacy to every in and every out of the product. A four stereo channel mixer with USB inputs, MIDI I/O, monitoring options and inserts, as well as auxiliary sends and returns and further routing options for where the returns are played back. The KL-8 is a force to be reckoned with.

The KL-8 is designed to be a total solution for the keyboard enthusiast, either live or in the studio, and I think Radial have nailed it (as if we expected anything less?). Up to five keyboards can be simultaneously plugged in, two of those on the USB channel that

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can be toggled between A and B inputs. The first three analogue channels have auxiliary sends, on/off toggles, cue buttons and level control whereas the fourth channel has a toggle between 1/4” inputs identical to the first three channels, or a USB input in which you can further switch between USB A & B. Everything is clearly labeled, and you can get creative with your sends and outputs (don’t let their intended uses stop you! Use the headphone out as another send etc.)

The back panel features MIDI I/O, which is located next to the USB A/B inputs and the live/rec toggle button, isolated main outputs and send/receive link for when you inevitably buy a second (or third!) KL-8 for your growing family of keyboards.

Keyboards and synths are a wormhole, and Radial appreciates that. The KL-8 is a unit designed to make a lot of gear a lot easier to wrangle. Think of it like an ingenious patchbay. For a recording studio it’s endlessly handy and it doesn’t have to be used for only synths and keyboards, but it certainly works best for that. Gear can be plugged in all at once and sent and received whenever you need it, rather than stumbling around cabling and plugging and unplugging things in and out. For producers it keeps the creativity going, while synths are tested to find the perfect tone and colour for whatever you’re doing. What’s more, you can change

the auxiliary return output on the top of the unit. A handy little switch switches between the returns going to all outputs or just the monitors, i.e. not to the main output.

Monitor with effects and record the DI to be tweaked later. Genius.

The KL-8 is maybe the most feature packed product I’ve ever held. For a 1U unit, it’s unbelievable that Radial has packed not only the five inputs and outputs in, but also sends for every channel, and toggles between USB inputs and headphone sends.

There’s three output options, including the headphones, as you can have a main output as well as a monitor only out i.e. that you’re not recording. The Radial is now the heart of your array of keyboards and synths, which can be permanently installed, used and loved.

BY LEWIS NOKE EDWARDS

HITS ∙∙ Lots of routing options ∙∙ Lots of I/O, also linkable with another KL-8 MISSES ∙∙ N/A

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PRODUCT REVIEWS EARTHQUAKER DEVICES

Dispatch Master Delay/Reverb YAMAHA MUSIC AUSTRALIA | AU.YAMAHA.COM EXPECT TO PAY: $379 EarthQuaker Devices have made something of a name for themselves in recent years with outrageous yet considered pedal designs. Rising from the basement of Jamie Stillman in 2007 with the Hoof Fuzz, they now boast a stable of more than 40 pedals.

To EarthQuaker, pedals should be simple and user-friendly with lots of practical and musical sounds and while they push the boundaries of what is sonically possible, they ensure they have one foot firmly planted in this philosophy.

To this end, the Dispatch Master offers an elegant all-in-one solution for arguably the two most commonly used effects – reverb and delay. With most pedal manufacturers chasing infinitely adjustable parameters and memory banks, EarthQuaker have taken another direction with the Dispatch Master.

It’s all about extremely usable sounds right at your fingertips, with a hi-fidelity digital delay and reverb built into the one pedal.

The control layout is simple, making it easy to dive right in. There is a Mix control to allow the user to control the amount of effect vs. original signal, while Reverb is controlled by a single pot with the amount increasing as you turn the pot clockwise. It is a lush, ambient, hall-type algorithm, and it’s easy to intuitively create atmosphere on the fly, from a smaller background space to

a drenched, cavernous wash and everything in between.

DC power supply, the Dispatch Master will integrate easily with any pedal setup.

The delay section of the pedal features familiar controls of Time and Repeats.

Delay times range from 0ms to 1500ms (1.5 seconds), while Repeats acts as a feedback control. This is an extreme amount of delay time to be had at your disposal and this range on one pot is both a blessing and a curse, making it easy to overshoot your desired delay time or bump it out of place.

A ‘Range’ control might help overcome this, but then it would be stepping away from the simplistic intentions of the pedal’s design.

The delay itself sounds fantastic. As a slap, it is thick and warm. Longer times also show the strength of the algorithm. Even at higher feedback and mix settings it never sounds stuttered or crunchy. The repeats are smooth to the end and offer a crisp yet warm tonality.

Calling upon the primary effects of yesteryear, the Dispatch Master gives players the opportunity to search for the sweet spot between delay and reverb. In many ways, the simplified user interface allows for greater fine-tuning of the balance between the two. Stripped of endless options, the user can play with subtle variations in delay time, mix and repeats along with lush reverb to manipulate the sense of space around a sound source in the way recording engineers and musicians did in years gone by.

Build quality is a hallmark of EarthQuaker Devices, every pedal is made by hand in their Akron, Ohio factory and housed in a solid cast case with chassis mounted pots.

Their pedals also now feature Flexi-Switch Technology, a true bypass, electronic relay switching system allowing the user to simultaneously operate both latching and momentary operation. With power supplied via a standard 2.1mm, centre negative 9V

If you don’t have the need for extreme tweakability and want to kill two birds with one stone the Dispatch Master is worth a look. It offers high quality sounds in a single pedal housing, and makes dialling in a sound on the fly relatively easy. If the flavour of the delay and reverb on offer are your cup of tea then you would be hard pressed to find a pedal boasting a more concise way of accessing these two essential effects.

BY ASH BLAKENEY

HITS ∙∙ Great sounds ∙∙ Small footprint ∙∙ Solid build quality ∙∙ Ease of operation MISSES ∙∙ Extreme range of delay times makes it easy to overshoot desired setting

The legendary T-REX Fuel Tank Chameleon is back.

We are now taking orders – stock has arrived.

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Now fully certified for EESS compliance

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5 outputs each with 300 mA (= 1500 mA)

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Output 5/6 choice of either 9/12v DC or 12v AC

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Choice of 9V DC, 12V DC, 12V AC or 18VDC -150mA

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Noise-cancelling galvanic isolated outputs

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Traditional EI Transformer

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Several different voltage types served

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Current doubler = the possibility of as much as 600 mA

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Switchable 115V or 230V

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Compact, rugged, road-ready design

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CHAMELEON HAS THE POWER FOR YOUR PEDALS

RRP $299 Distributed in Australia by Amber Technology ambertech.com.au 1800 251 367 sales@ambertech.com.au

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PRODUCT REVIEWS NEUMANN

NDH20 Monitor Headphones SENNHEISER AUSTRALIA | EN-AU.SENNHEISER.COM | EXPECT TO PAY: $869 Neumann is a leader in top-tier pro audio equipment, and has been pushing the envelope for some time. Since their founding in 1928, the company has produced the famed U47 in the 40s, before progressively releasing the KM series, U67 and U87. More recently, Neumann has branched into studio monitors and headphones that compromise no less than any other product in the range.

The NDH20 is the most recent addition to this branch of Neumann, a pair of studioquality, closed-back dynamic headphones.

The NDH20s are sleek and classy, which is everything you’d expect from Neumann, but also have form and function packed relentlessly into a tiny package. The drivers are powerful, the reproduction even, clean and uncoloured, and the sound is balanced, full and honest.

The headphones, once removed from the classy box and packaging, are weighty and well-built. They’re solid and comfortable on your ears with padded ear-pads and malleable hinges to fit any head with a glossy silver finish and classy Neumann branding. While the NDH20s feel solid, this also makes them quite heavy on the head and may not be ideal for wearing over long periods. The weight makes the headband press down on the top of your head, which becomes uncomfortable after wearing the headphones for a little while. The

headphones include a 3.5mm cable and 1/4” cable, as well as coiled and uncoiled options for the cables for different users’ needs. The cables included can be lengthy or short and will easily integrate into any rig, reaching wherever your headphone outputs may be.

The ear-pads and closed-back construction provide stellar isolation, which really assist in referencing during mixing and mastering.

While the NDH20s may be a little uncomfortable to wear for extended periods, the response of the 38mm dynamic drivers is also uncomfortably clinical - which is an absolute blessing. The NDH20s are so clinical that they’re not ideal as a sole monitoring source - but no speakers or monitors really are. While the headphones are not pleasing or exciting to listen to, believe me, you will not miss a thing when monitoring recordings or referencing a mix. Reproducing sounds from 5Hz all the way up to 30kHz, with very true bottom end and un-hyped top end, you can trust that the NDH20s will reveal issues in recorded sounds, potential problem areas in entire mixes and mastering, as well as being great for referencing your work against other mixes and sounds. Because of the clinical sound reproduction the headphones provide, the NDH20s could be used to great effect for mastering or other quality control tasks in audio. Issues are blatantly obvious in these cans, but can also be remedied

faster because the source of the issue can be illuminated so clearly.

The NDH20s are a great headphone overall and a phenomenal point of reference when working with audio. Issues can be highlighted at any stage of the production process to ensure the end product is as good as it can be, no matter what system it’s played on. Despite being a very heavy headphone, the NDH20s are a great option to swap in and out while monitoring, but are not a total monitoring solution, but again, no speaker or headphone should be.

Neumann’s products inspire greatness, and the way the NDH20s isolate sound and shine a light on each part of a mix or arrangement simply doesn’t allow you to do a bad mix.

Great work starts with a great reference, because you can’t fix what you can’t hear, and the Neumann NDH20 Closed Back Studio Headphones are that great reference.

BY LEWIS NOKE EDWARDS

HITS ∙∙ Laser-focused, precise sound reproduction ∙∙ Great closed back, isolated sound MISSES ∙∙ Heavy, a little uncomfortable

Faderport 16 LINK AUDIO | LINKAUDIO.COM.AU | EXPECT TO PAY: $1499 Most of you who keep an eye on home studio gear will certainly be aware of the PreSonus FaderPort. The original compact control surface for transport and fader controls made its way into many home studios over the last ten or so years, and still continues to be a popular option for simple mix tasks when you don’t want to use the mouse for every function. Well, with a few advancements in the last couple of years, PreSonus have now launched their flagship model in the FaderPort line, one that will offer far more control and a greater ‘hands-on’ workflow. Offering more than ever, the FaderPort 16 is here.

It’s pretty obvious that you’re looking at sixteen faders on this model as the name suggests. All are smooth action, long throw motorised faders that respond to touch and snap quickly into place when you shift the mixer up and down across the faders. What some users may find absent is the presence of a master fader, with all sixteen generally assigned to individual channels. This might be an issue for some, although it may well serve as a handy tool to keep users from adjusting listening levels by use of the master output, and will in turn drive them to adjust their monitor sends instead. But, that’s not a big issue when there are sixteen flying faders that work a treat in the mix on projects up to and much larger than sixteen tracks.

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Each of the channel strips features a mute, solo, and select button at the top, along with a scribble strip that shows information like pan position, channel number, and track name. Although quite small, these still offer a clear visual of important information as the channels are shifted around. If they were any larger, the entire unit would end up too bulky and oversized. What is missing from each channel, sadly, is a pan pot, with just the one located to the side, which has become somewhat of a design stalwart of the FaderPorts. It’s easy enough to select a channel and have this become the pan port for that channel, but this doesn’t allow you to shift the pan position of a pair of channels in unison to see how they balance with each other’s movements. That’s my main gripe with the unit, but aside from that, it is a joy to work with; large transport controls, plenty of control function buttons, and easy to set up for your chosen DAW with templates specific to certain operations. If you really want to improve your workflow and get back to a more ‘hands-on’ feel with your recording and mixing, then the FaderPort 16 is going to do just that. Once you get your head around the layout and get used to having a hand on the FaderPort rather than the mouse all the time, it makes mixing fast and enjoyable.

BY ROB GEE

HITS ∙∙ Sixteen motorised faders ∙∙ Plenty of transport and control features ∙∙ Easy DAW integration with new templates MISSES ∙∙ Only one pan pot for all channels

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PRODUCT REVIEWS MARKBASS

Michael League Signature Series CASA CMC MUSIC | WWW.CMCMUSIC.COM.AU | EXPECT TO PAY: HEAD - $1950 CAB - $2195 We reviewed the Marcus Miller Series from Markbass in last month’s issue, and another signature amp is the Markbass CASA, produced with Snarky Puppy’s own Michael League. Snarky Puppy are known for their own brand of rock-inspired funky fusion, and Michael League anchors the band like no other. The CASA is a 500-watt solid state head, with a matching 410 cabinet, designed in line with Markbass founder Marco De Virgiliis. The CASA features a fiveband EQ section, as well as gain and master and handy treble and bass controls designed for quickly setting up and tweaking a tone.

The back panel of the amp features a 1/4” or Speakon speaker output, tuner out and effects loop send and return. Finally, a line out and buttons for ground lift or moving the EQ in your signal chain.

The front panel features some of the most easy to use and intuitively designed controls I’ve ever dialed. An input, before a simple gain, treble and bass control. Driving the gain provides a dirtier tone, but can’t be pushed into full distortion or fuzz territory.

Even at gainer settings, the tone becomes more full and colourful without obvious clipping or distorting. At 500 watts, the amp is loud and ready to take on anything you need it for. In being an amp designed for a bass player whose tone and role changes song-to-song, Michael League requires an

amp that can be quickly and easily set, relied on, and forgotten about until the next song. Snarky Puppy’s bass lines push and pull the songs, and League’s playing slips in and out of focus while endlessly keeping the band anchored. The footswitchable EQ settings can be toggled between the full, 5-band EQ or a more simple treble and bass control designed to be more plug-n-play.

The five-band EQ provides bass, middle and treble, but also an ultra-low and hi-mid control that are targeted directly at commonly used frequencies of the bass guitar. The Ultra Low dial is set for +/- 16dB of gain at 67 Hz, and the Hi Mid at 1400 Hz. The Hi Mid targets string attack that is clear and defined, without any unpleasant honk that is common with mids on a bass guitar. The Ultra Low, on the other hand, pushes sub frequencies from the amp that remain controlled, no matter how much gain you give it. For rock, funk and even metal, sub frequencies can help glue a mix together and find the bass’s place in the mix, especially when blended with the direct sound from the back of the amp.

The rear panel of the Markbass CASA features a handy direct out for live applications or recording. The EQ section can then be switched pre or post direct out, which is incredibly handy for capturing a super clean signal and re-amping or blending into a

dirtier tone. The direct out is admittedly a little clinical to be used as your total tone, but you’d prefer a more clinical DI than a dirty and coloured one. The direct out also features a ground lift so it can kept clean on any power you might run into.

Overall, the Markbass CASA, developed in line with Michael League’s specs, is a great amp. It’s clean, solid, and offers a bunch of routing and tonal options, while still keeping everything simple. You can add colour when and where you want, but can do so knowing that your foundation is great. Getting the sound right at the source literally rings true through the CASA and it’s matching 410 cabinet. Pedals and extra

colour are great but without a great amp to expand on, they’re nothing. The EQ on the CASA is simple, straight forward and easy to dial, it’s arguably impossible to dial a bad tone.

BY LEWIS NOKE EDWARDS HITS ∙∙ Easy to use EQ ∙∙ Easy to sculpt tone overall ∙∙ EQ can be pre or post DI MISSES ∙∙ N/A

PETERSON

StroboPlus HD AMBER TECHNOLOGY | WWW.AMBERTECH.COM.AU | EXPECT TO PAY: $225 An accurate tuner is arguably the most important piece of gear a musician, let alone a guitar player, needs. Peterson’s StroboPlus HD is nothing short of an industry standard, packed with a myriad of features and its hallmarked pinpoint tuning accuracy.

Out of the box, this large tuner flaunts a rugged, military-style palette with a no-nonsense demeanour. Dark olive-grey plastic forms the enclosure of the device, accented with black and a large silver ring around its display screen. Suffice to say, build quality is top-notch here – the tuner even includes a handy kickstand on its back.

One can easily expect decades worth of use out of this tuner, and you can even remove and exchange the rechargeable lithium ion battery.

The StroboPlus HD is accurate up to 1/1000th of a semitone, which is pretty much as accurate as it gets. Tuning and text graphics are displayed on its immense semicircular LED screen. The display is backlit with a pleasant orange glow and renders visuals extremely well, offering clarity even on the dimmest stages and the most glaring outdoor gigs. Large rubber buttons and a rotary encoder allow quick and easy access to the device’s array of functions, including strobe tuning, pitch tuning, and if purchased, a metronome.

As one would expect from a Peterson

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product, tuning was an absolute breeze with the StroboPlus HD. The smooth-scrolling strobe bars travel clockwise if the note is sharp, anticlockwise when flat, and remain stationary when the note is in tune. I tested the device both through its quarter inch input jack and its inbuilt microphone, and was left floored by how intuitive, speedy and accurate the entire process was.

Under the hood, this tuner conceals several more features – the most interesting one being Peterson’s ‘sweetened tunings.’ These are a collection of suggested micro-tuning adjustments for a myriad of instruments that claim to “optimise your tone.” There are a tonne of variations here, compensating for three-barrel Telecaster bridges, to stretched tunings for a 47-string harp. Although, when trying out one of the sweetened tunings for an acoustic guitar, I found the tonal differences to be almost negligible.

While not necessarily being better, they’re certainly different.

Additionally, the StroboPlus HD is seemingly future-proof with healthy online support.

While connected to a computer, you can utilise Peterson Connect – a Google Chrome browser extension – to update your tuner to the latest firmware. Savvy users can even create their own sweetened tunings and push them to the tuner for immediate access. These personalised tuning settings can even be shared online to the Peterson

community. The tool also allows you to buy the optional metronome and have the feature unlocked on your device – which certainly raises some eyebrows.

The hardware itself is already capable of performing as a metronome, which just makes this seem like a quick cash grab.

Sans the missing metronome, the Peterson StroboPlus HD does what it’s supposed to do, and does it outstandingly well. With rock-solid build quality, unrivalled ease of use and great online support, this tuner will undoubtedly find a home with the most discerning musicians and instrument builders.

HITS ∙∙ Deadly accurate tuning ∙∙ Exceptional display screen ∙∙ Excellent build quality ∙∙ Future-proof MISSES ∙∙ Metronome must be bought to be ‘unlocked’

BY EDDY LIM

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PRODUCT REVIEWS TWO NOTES ENGINEERING

C.A.B. M INNOVATIVE MUSIC | INNOVATIVEMUSIC.COM.AU | EXPECT TO PAY: $499 Two Notes Engineering are a company at the forefront of bringing impulse responses to the masses, as well as producing products to assist the modern producer and modern player. From their flagship Torpedo Studio to the smaller Captor series, Two Notes provide products for any need or level of profession.

The Torpedo C.A.B. M is in the middle of the Torpedo range and provides a great solution for guitarists and bassists live or in the studio. The C.A.B. M is a one input, three output stompbox-style unit with a nicely backlit OLED screen, and a long list of tonal options that can be expanded via Two Notes Wall of Sound software when connected via USB. You can load your own impulse, or tweak the pre-loaded ones, and provide your sound engineer a more direct, controlled signal.

The Two Notes C.A.B. M is designed to be used on a pedal board, and resembles a small footprint stompbox. You can plug your pedals straight into it as you would a head, then send a direct out OR you can route your head back through the C.A.B. M and send your front-of-house engineer a direct signal to be either blended with your cabinet sound or to replace your cabinet sound entirely. The C.A.B. M is easy to set-up, and has a lot of routing options inside and outside of the pedal. The side of the stompbox features Amp In, Speaker

Out and Input Level controls, as well as USB for connection to Two Notes’ Wall of Sound software and the power adapter input. The other side has your line out, DI out (with a ground lift), auxiliary in and headphone out for silent practice. The OLED backlit screen to tweak all these settings dims when untouched so it’s not startlingly bright on a dark stage or dimly lit studio.

When recording with the C.A.B. M, you can switch between 32 cabs that are pre-loaded, load and tweak your own, OR purchase more impulse responses from Two Notes. The pre-loaded cabs are all definitively different sounds, so you can quickly scroll to find something that is your ballpark tone, then tweak it until it’s perfect. The cabinets sounds believable, and genuinely resemble a mic’d cabinet in a room (the room can be tweaked as well!). Once you’ve found your tone, you can record it at 24 bit / up to 96kHz resolution, and rest assured that the bandwidth of 12Hz - 19kHz is leaving nothing behind the recording with the XLR DI out. The pre-loaded impulse responses can sound dark initially but with some tweaking, really come to life and sound like a perfectly mic’d cabinet in a nice room of any size you like.

For a stompbox with the tiny footprint that it has, the Two Notes C.A.B. M features

everything you need it to. Not designed to be a replacement to traditional cabinets and microphones, but something to work with cabinets and be integrated for more control to bring your perfect tone to the stage or studio. The Two Notes software can provide an isolated sound to your interface or FOH sound, which can then be blended with your cabinet sound, or can be your entire rig with a creative preamp pedal. While admittedly the C.A.B. M isn’t as complete a package as the larger C.A.B. from Two Notes or smaller solutions such as Hughes & Kettner’s RedBox, it’s the most comprehensive product for the footprint, and that’s what Two Notes Engineering is all about: modern solutions for modern players, with products that fit our needs to a tee.

BY LEWIS NOKE EDWARDS

HITS ∙∙ Routing options ∙∙ Small footprint MISSES ∙∙ Not a load box, bigger Two Notes products are though

ASHDOWN

Woodsman Parlour Acoustic Amplifier PRO MUSIC AUSTRALIA | PROMUSICAUSTRALIA.COM.AU | EXPECT TO PAY: $399 Amplification options for the singersongwriter, duo or small band lineups have often been few and far between in the lower price bracket. Typically, you are stuck with a dedicated PA and mixer with an expensive acoustic guitar amp (or heaven forbid, an acoustic into an electric guitar amp). As a dedicated acoustic guitar amp with a mic input, Ashwood’s Woodsman Parlour looks to give the blues, folk and country crowd a compact combo for jamming, rehearsing and even small gigs.

Coming in at a very manageable five kg, the Woodsman is statesmanlike with its textured covering, vintage styled grill cloth, angled rear control panel and cream/white controls. Rated at 25 watts, this Woodsman is designed as a two channel amp (guitar and mic) for an acoustic set. With a single 8” speaker, the combo design is compact and easily manoeuvrable. On the control panel, there is a mic channel with input and volume control, channel one for instrument input with your usual volume, bass, middle and treble topped off by master reverb and volume dials.

As an acoustic amp, the single 8” combo responds surprisingly well with decent volume and clarity. The EQ section allows for tone shaping and I’d imagine that in

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conjunction with your onboard guitar EQ it will yield more accurate tweaking. The mic and AUX inputs allows you to easily pump in vocal or backing tracks – indispensable for solo and duo acts. Having a master volume gives you some control over the individual balances while the reverb is handy for adding some body to the overall tone. I could see the Woodsman Parlour being an easy to use rehearsal or small gigging amp for those that can’t afford/don’t have access to/can’t be bothered with complex or large sound systems.

Ashdown are perhaps best known for their bass gear and have built a name for solid gigging amps and cabs. It’s nice to then see some guitar focused items and I’m interested to see how far the company heads in this direction. While the Woodsman Parlour is realistically aimed at home use and restrained jamming, it is a neat guitarmic combo that lets you hone your vocals and guitar setup before moving into bigger gigging sound reinforcement. It’s compact, easy to use, looks good and comes at a nice price – great stuff Ashdown.

BY NICK BROWN

HITS ∙∙ Compact with a range of inputs ∙∙ Looks good MISSES ∙∙ No EQ on mic channel can be limiting

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PRODUCT REVIEWS FAITH

FKV12 Naked Venus 12-String CMC MUSIC | WWW.CMCMUSIC.COM.AU | EXPECT TO PAY: $1295 The Faith FKV12 Naked Venus is a full-sized, 12-stringed acoustic guitar from Faith Guitars in England. The FKV12 is a mahogany rhythm machine, being lightweight but still incredibly concise, and could be comfortably slung over a shoulder on stage or as a dedicated go-to at home, or even in the studio for those special tracks that need the sparkle that 12-string guitars provide. The sound is punchy and clear, and despite the lightweight body, the FKV12 resonant and loud while still responding well to dynamic playing. You’ll feel at home on this guitar, and it translates well from more traditional six string acoustics. The FKV12 is a great 12-string solution that plays well, records clearly and inspires creativity and texture.

Faith have been producing phenomenal acoustic guitars since 2002, and the FKV12 is one of the more recent additions to this range of products. With a scale length of 25.4” and a comfortable shape and cutaway that compliments your body, the FKV12 is a great entry to the wold of 12-string acoustics, or alternatively a great addition to an existing collection of musical instruments. The guitar is structured mostly from solid Indonesian mahogany, besides the top wood which is still Engelmann spruce and a satin finish all over. The neck is mahogany as well, again with a seamless satin finish and topped-off with

an ebony fingerboard (models pre-2016 had rosewood, but I think the ebony provides a better and more complementary tone to the mahogany). The guitar is incredibly light, almost shockingly so, and could be comfortably played on stage for hours. 12 strings can feel alien when playing one for the first time, however the FKV12 doesn’t bow to this notion. The scale length, coupled with the comfortable body, neck shape and cutaway beyond the 15th fret make for an entirely playable 12-string for a player of any level.

The sound of the Faith Venus itself is phenomenal. The whole body resonates beneath your hands and against your chest, and the sound delivered is clear, articulate and dynamic. The guitar remains present and responds well to light or heavy strumming without becoming too much, or overloading a signal without a compressor. Notes are clear and concise, but also full and resonant - but never muddy or woolly. The recorded sound, specifically, is treated and shaped even without any other processing. The old adage that the sound needs to be right at the source rings true, and the FKV12 delivers that sound source to build your recordings on. The guitar also responds well to its space, harder playing in a nice room can deliver resonant roominess, but similar playing in a tighter room simply provides

a tighter sound, whereas some acoustic instruments can become boomy in smaller spaces.

All in all, the FKV12 would be a great addition to a recording studio collection of little tricks to liven up recordings, or as a go-to for a singer songwriter wanting to dive into 12-string acoustics. The FKV12 records well, doesn’t alienate players and sounds great no matter your use for it, nor style of playing. This guitar responds to your playing and doesn’t dictate the direction like 12 strings can. A great list of tone woods, a satin finish head to toe, as well as an ebony fingerboard make the FKV12 a really great buy. It provides a dynamic but level response in its space, as well as resonating against your body, and the cutaway provides great access to the higher frets for new and creative chord

voicing. The FKV12 is everything you want from a 12-string acoustic, without feeling difficult. It’s a great transition from regular six string acoustics, from seasoned players to musicians beginning to dabble in the harmonically rich world of 12-strings.

BY LEWIS NOKE EDWARDS

HITS ∙∙ Great size, comfortable ∙∙ Tunes and intonates well ∙∙ Great, controlled sound MISSES ∙∙ N/A

SENNHEISER

XS Wireless Digital Vocal Set SENNHEISER AUSTRALIA | EN-AU.SENNHEISER.COM | EXPECT TO PAY: $599 Sennheiser announce new wireless systems about as often as Australian treasurers declare fake budget surpluses; that is to say, once a year. Luckily, the German pro audio manufacturers know a tad more about what they’re doing - their wireless systems consistently set the industry standard.

Unveiled at this years NAMM, the XS Wireless Digital series continues a trend of excellence, spanning several cheaper audio options for musicians and videographers alike. All sets contain the same simple transmitter and receiver linked with a 2.4GHz connection, though it’s the vocal set that has taken our fancy.

Unless you’re a PJ Harvey-type mic cord stage contortionist, it’s a relief to open the Vocal Set’s box to see a neat modicum of components; the XLR (female) transmitter, (male) receiver, one cardioid dynamic mic, vocal clip and USB-A to USB-C charging cable. No carry case or XLR cable is included unfortunately, something you’d be rightly miffed about at the price point. The mic itself has a quintessential Bauhaus black design and is beautifully weighted.

Configuring the transmitter and receiver is as painless as plugging into your mic and interface and pressing the single button to get started, turning the LED light green.

The XSD cardiod’s sound quality is unquestionably pristine, emblematic of the current state of wireless tech; I think most

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tech reviewers are glad to be done with the “...b-but the loss!” line. Sennheiser boast their 2.4GHz connection at an unobstructed 75 metre range and it’s difficult to fault the claim - in the realm of my tiny apartment, no loss was audible even through a few walls. As a mic, its attributes are typical Sennheiser – ultra-strong presence that cuts through the mix with transparency and a mystically good low end.The greatest thrill is the control offered by the hands-free operation in conjunction with the clarity of signal; if you’re a jazz vocalist in particular, being able to alter the distance between mouth and mic with ease is a huge plus.

It should also be applauded that it sounds natural, when some digital systems can tend to be boomier than regular mics.

The XS Wireless series is now the entry level range for Sennheiser’s wireless tech with its tiny one touch receiver-transmitter system, whereas Sennheiser’s G4 and AVX ranges use bulky body-pack and rack mount systems. Both the AVX and G4 ranges are optimised for TV broadcast, film, TED talks and other more industry specialised use with a huge amount of customisability - XSD simply provides blanket quality sound at a third of the price. There are other basic features to the XSD – switching between multiple transmitters, configuring multiple combinations and muting via the one touch button – but it’s primarily a single function

product. The advertised five hour battery life was approximately correct, which easily could and should have been better.

Although charging is easy via the USB cable, five hours might not be enough for a big gig night unless you judicially switch it off each time you finish using it.

Fundamentally, the XSD vocal set is a simple cost-need conundrum; do cables inhibit your mic performance? If so, this is the best quality option at an entry level price point.

If not, it’s hard to justify the near $600 particularly without the options of a more expensive wireless system.

BY JOSHUA MARTIN

HITS ∙∙ Pristine mic clarity ∙∙ Sounds natural ∙∙ Ease of use – well weighted, one touch receiver/transmitters, uncomplicated setup MISSES ∙∙ Five hour battery life is weak ∙∙ Could be in troubling market limbo at price point ∙∙ No carry case, XLR cable included

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PRODUCT REVIEWS EARTHQUAKER DEVICES

Westwood Overdrive YAMAHA MUSIC AUSTRALIA | AU-YAMAHA.COM | EXPECT TO PAY: $275 A word of warning before I dive in: this review will be chock-a-block full of the most mercurial and indefinite adjectives in the thesaurus. This, ladies, gentlemen and others, is a review of… an overdrive pedal.

What do SRV, Pearl Jam, Foals, and Periphery all have in common? Reliance, nay, dependence upon the humble yet hotly debated Tube Screamer-style stomp box.

These little green meanies have been the secret weapon of enough guitar heroes to put any holy grail amp to shame, as have many of their ilk. Klon clones, TS try-hards, blues drivers, OD oddballs and variations on the pushed amp theme litter the ground in pedal world, and it has officially come to the point where every last pedal manufacturer on the planet has what they deem the one to rule them all. While EQD is the proud progenitor of one of the more flexible and nuanced contenders to the title, the Palisades, they have never been the types to throw their hands in the air and proclaim, ‘Eureka, we’ve done it!’ The Westwood sees them dip their toes in the clear, glassy end of the overdrive pool and, as always, pip the competition at the post in doing so.

As ever, EQD have equipped their unit with a simple set of controls with almost unlimited capability. Classically, overdrives need little more than input gain, output level

and maybe a bit of tone shaping capability for good measure, and that’s just what we have here. The 80Hz region is wrangled by the Bass knob with the everyday ease of a foreman on a worksite, while the Treble control dances around 2kHz like a toreador in full and fancy flight. With the former steadying proceedings at 12 o’clock and the latter pushed to its peak, there is an openness and clarity that even the original Maxon and Ibanez versions would be jealous of. If you’ve ever slaughtered a Bassman, even a reissue, with a good Les Paul you’ll be familiar with what I mean. With the Gain knob dimed there is enough juice on tap to satisfy the more leather clad among us without veering into ugly, tight distortion territory.

The problem with writing about, and I assume in designing, an overdrive is the arbitrary nature of the descriptors used to hone in on the magic therein. Adjectives like ‘transparent’, ‘glassy’, ‘bell-like’ and ‘clear’ abound and offer deceptively little in the way of light in the tonal pathway. We all know what we’re hearing because we’ve heard it before, either in the recorded works of the aforementioned guitar heroes or when we’ve been cheeky with the floor stock of our favourite vintage gear emporium. We want to hear what Neil Young hears when

he tears a ’65 Princeton a new arsehole, but we don’t want to have to live in a cabin in the woods to achieve said bristling nirvana. In the last few years a subset of smaller companies have become tastemakers thanks to the success of their designs, not the least of whom is the one and only Earthquaker team. While fashionably late to the transparent OD party, the Westwood is by far one of the nicest sounding iterations I’ve come across. Annoyingly fluid adjectives be damned, the proof is in your ears as soon as you kick it on.

BY LUKE SHIELDS

HITS ∙∙ Hits the OD nail right on the head with no mess or fuss MISSES ∙∙ None

APOGEE

HypeMiC USB Microphone AMBER TECHNOLOGY | WWW.AMBERTECH.COM.AU | EXPECT TO PAY $519 If you’re a bedroom producer, beatmaker or podcaster you should know what compression is and how to use it to make your tracks pop. For those whose knowledge remains on the fretboard, compression is simply the process of lessening the dynamic range between the loudest and quietest parts of an audio signal, giving it a professional sheen. Apogee’s latest USB microphone HypeMiC is marketed as a studioquality introduction, though it might be underselling itself.

The HypeMiC aesthetically resembles the MiC+ and previous Apogee USB mics with its dull gold finish and lightweight build. The mic is only part of the package here with a pop filter, desktop stand and mic stand adaptor packed into a hard fabric carry case inside. The pop filter is a cute size but its stand is quite stiff, making it frustrating for use outside the home studio. The carry case bears a neat Apogee pop-up insignia and fits in a backpack without fuss – a hardier leather case would have been welcome but it should wear light travel well. Apogee’s buddy up with Apple is clear out of the box too with the inclusion of a Micro B-to-Lightning cable alongside the usual USB-C and USB-A. What makes the HypeMiC remarkable is its built-in analogue compressor of a quality normally found in extortionately priced studio condenser mics, now in a

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tiny USB package. The technological leap impressed vendors at this year’s NAMM who expected a banal revamp of the Mic+.

The compressed clarity is still faithfully converted into audio via Apogee’s patented PureDIGITAL connection (24-bit sample rate and 96kHz resolution). The mic offers three simple modes of compression: Shape It, Squeeze It and Smash It, toggled on the front panel by the control knob. Shape It, the minimal amount of compression, will suit most of your musical needs, while Squeeze It is predominantly for podcasting and interviewing. Smash It is Rick Rubin’s trademark compression on crack, suited to the bombast of a single voice broadcast.

I found Squeeze It also worked well for recording quieter, auxiliary percussion.

The capsule design rejects sound from the opposite side of the mic which, in conjunction with the pop filter, rendered background interference invisible. Changing mic gain is as simple as twiddling the same control knob while information about levels and compression setting is plainly indicated by a three light LED – blue indicates connection to power, green a connection to a DAW or audio program that is ready to record.

No metaphor is needed to illustrate the simplicity of the USB connection either; within a minute of taking the mic out of the box, I had plugged in the lightning cable to

my laptop, opened Adobe Audition and hit record without configuration. The HypeMiC is highly compatible with GarageBand for iOS too, heightening its portability. This is valuable for journalists in the field, though if you’re using it handheld it’s advised the Shape It setting is used to prevent popping and hiss. Without the pop filter however compression is mostly too sensitive to use for an audio interview recorded on the street.

The simple 3.5mm headphone output is worth mentioning too; the second button on the front panel engages the Blend function, controlling balance between the HypeMiC and playback signal for zero latency recording.

The minimal settings with their goofy names panders to an audience getting into the world of home recording or podcasting, though the audio geek in me yearns for greater customisation. It’s a greedy thought though, spurred by the quality of the tech in the compact package. The condensing of the analogue compressor is staggering, though the price tag makes its beginnertargeted marketing slightly confusing. The HypeMiC is a near perfect podcast mic and a garden-variety excellent microphone for musicians.

BY JOSHUA MARTIN

HITS ∙∙ Analogue compressor inside a tiny USB mic. How!? ∙∙ Ease of use ∙∙ Excellent package that includes small pop filter ∙∙ Perfect for podcasting, great for music MISSES ∙∙ No customisation of compression settings ∙∙ Price tag is a bit much for the beginners it targets

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ACOUSTIC

ELECTRIC HYBRID MIX The 2 Output Option Unlock the full potential of your MK Hybrid with a Y Cable. This allows you to send the signal from the magnetic pickups to one amp or channel and the acoustic to another.

This lets your perfect your sound.

Electric Guitar Amp Acoustic Guitar Amp

Note: Use of a Y cable is optional, simply use a standard cable to an amp or channel, no problem!

Also perfect for for sending directly to a mixer

PRODUCT REVIEWS SENNHEISER

Momentum True Wireless Earbuds SENNHEISER AUSTRALIA | EN-AU.SENNHEISER.COM | EXPECT TO PAY: $499 While wireless connectivity has been touted as the future for almost all personal devices, only several major corporations have dipped their toes into the water so far. Sennheiser’s first attempt at a “True Wireless” experience combines their legendary sound reproduction with the convenient qualities of wireless earbuds.

The same could be said of the initial pairing.

After a brief glance at the supplied quickstart manual, I was able to pair the earbuds to my Pixel 3 almost instantaneously. While the touch controls located on the ringed metal face were sensitive, double-taps and triple-taps still required some practice and compensation for input lag.

The Momentum True Wireless earbuds come beautifully packaged in moulded foam with an elegant travel case beside it. The case has a magnetic clamshell lid, with its interior doubling as a charging dock for the earbuds. Sennheiser claim these earbuds last up to four hours on a full charge, plus eight additional hours from a fully juiced dock. A tiny button and LED on the back indicates the earbuds’ battery life when charging, adjacent to its USB-C to USB-A charging socket.

Now for the most important part: sound.

I’m extremely pleased to report that these earbuds’ sound reproduction is absolutely phenomenal. With their 7mm dynamic drivers, these earbuds were able to generate a surprisingly broad soundstage, handling different genres with ease. Vulfpeck’s Fugue State sounded incredibly tight, with extracrispy snares and refined mids and highs.

Bass guitar riffs and lower-mid frequencies did not coalesce into mud in Deftones’ White Pony, with similar performance for the subbass in Kendrick Lamar’s good kid, m.A.A.d city. An exceptional amount of clarity in these earbuds was attained without any tweaks to the graphic EQ in the mobile app.

With such excellent performance in the audio department, it’s truly baffling to experience the lack of rudimentary functions these earbuds possess. For instance, the ability to swap touch controls from one earbud to the other, or the fact that you can’t manually turn these earbuds off, resulting in unnecessary battery loss when idle outside of its case. Speaking of which – if your case is out of battery, your earbuds won’t be able to disconnect and switch off even when stowed. Removing a single earbud abruptly disables playback from both earbuds, due to the proximity sensor around their edges.

The battery life isn’t anything spectacular either – Apple’s Airpods allow five hours of listening on a charge, with an extra 19 stored in its case.

One point of interest is the earbuds’ ‘Transparent Mode’, activated by tapping on the right earbud twice. Unfortunately, this mode realistically acts as a form of high-pass filter, with a small boost in the allowed frequencies. While you’re able to hear street noise with no issue at reasonable volume levels, clarity in conversations require

Overall, these earbuds are for the audiophile who requires premium sound everywhere they go. They’re definitely the best sounding in-ear style ‘True Wireless’ earbuds I’ve ever tried. However, with such an exorbitant price tag, it’s difficult to justify the hefty purchase just for sound quality alone. Future software updates for ‘Smart Connect’ may add the extra

These earbuds are large, finished in a classy black and silver deep-dish profile.

Thankfully, their deceptive size belies their actual weight. The earbuds are light enough to remain comfortable in long listening sessions, yet substantial enough to distance itself from feeling cheap and finicky. Even when jogging, the earpieces remained snugly wedged in with little to no movement at all. With the included extra silicone in-ear fittings, getting the right fit was a walk in the park.

your music to be turned down to an almost inaudible level. Furthermore, the option to leave your music playing while enabling ‘Transparent Mode’ is turned off by default, forcing you to download Sennheiser’s ‘Smart Connect’ application in order to enable it.

functionality so desperately needed for these premium earbuds, but only time will tell.

BY EDDY LIM HITS ∙∙ Absolutely unbeatable sound reproduction ∙∙ Solid build quality ∙∙ Comfortable fit for long periods of use MISSES ∙∙ ‘Smart Connect’ app lacks functionality and customisation ∙∙ Average battery life ∙∙ Heavy reliance on case to switch on/off

FENDER

VL12 Prime Direct Drive DJ Turntable ELECTRIC FACTORY | ELFA.COM.AU | EXPECT TO PAY: $899.00 It’s been a long time since the reign of the 1200 ruled over turntable use and the choice was pretty much stitched up before you even thought about which turntable you should buy as a DJ. Nowadays, there are plenty of options, especially with the recent resurgence in vinyl, so it can be a little harder to find the turntable that is right for your needs. But, with all the budget options out there, it is good to know that good quality, direct drive turntables are still being built be brands like Denon, specifically designed from the ground up for DJ use.

The first thing that struck me about the VL12 Prime turntable was the looks. Once assembled and powered up, it’s hard not to like what you’re presented with. It’s certainly a very slick looking unit, featuring all the standard features that DJs have come to expect from a turntable, but all dressed up in a high-priced suit. The brushed black chrome look, along with the blue lit platter edge, looks mint. You can adjust the colour and brightness of the platter rim too, with controls found around the side of the unit, working through an RGB colour spectrum because Denon want to make sure your turntable suits the mood of the room. But the adjustments around the side don’t just cover looks, they also work for function too,

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with a torque adjustment allowing you to control just how much grunt the platter has.

I’ve used fairly high torque turntables in the past and like that extra grip, so it was all the way up for my liking.

Of course, feel is one thing and looks are another, but when it comes to a quality turntable, you need performance and sound to excel. To start with, a three stage adjustable tempo range is on offer, allowing you to use the 100 pitch adjustment fader to achieve up to 50 percent variation in speed from the original speed of the record.

This can be snapped back to perfect pitch with the quartz lock function that holds your record tight at its original speed.

The output, supplied on a pair of RCA connectors, with ground terminal, has plenty of volume. This is a loud turntable. It definitely delivers solid levels with plenty of low frequency response, so you get the most from your records. What might have sounded dull and lifeless on other turntables will come to life on the VL12 Prime. It’s saying a lot, but I think there would be a few wooden-floored, leather-couched audiophile listening rooms that would appreciate this turntable in operation. Take into account the sturdy base and anti-shock feet that take care of any unwanted vibration from

the desktop and you get an overall listening experience that excels in both the home and club environment. Looks, feel and sound, the Denon VL12 Prime direct drive turntable offers it all. Certainly this is the new contender for the turntable that everyone wants to have.

BY ROB GEE

HITS ∙∙ Great styling ∙∙ High output, incredible sound ∙∙ Plenty of options beyond the norm for a direct drive turntable MISSES ∙∙ None

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PRODUCT REVIEWS DENON

DJ X1800 Prime Mixer ELECTRIC FACTORY | ELFA.COM.AU EXPECT TO PAY: $1699 Sturdy and built with quality, the Denon DJ X1800 Prime Mixer packs unique features and additions that add to professional level performance and fun. Again similar to the Pioneer mixer format – it’s fairly clean and clear to navigate and has a bunch of extra features without the overbearing, spaceship-like button and knob fest of other professional level mixes out there.

The mixer is ideally designed to work in unison with the DJ SC5000 – so even after spending a bit of time playing around with the additions, the DJ X1800 had me going down a rabbit hole of new options and cool tricks once I’d linked the two.

The separation of filter and FX sweeps add extra depth when used in combination and is a nice touch. The FX module also has some innovative features, the most important one being the touch strip to manipulate the effects. In the BPM FX section there’s digital menus to dive into where you can toggle not just the FX but built in parameters like the colour coding of the cue buttons, brightness, headphone level output etc.

I was impressed by the killer amount of inputs/outputs this unit has. May you never be short of an input ever again.

This should ensure plenty of setup options

and hassle free transitions between DJ’s with various types of hardware. Ideally – this will also allow the default in-house setup to remain intact without some goon deciding they absolutely must unplug and reroute everything (There’s always one).

While we’re at it - the X1800 also has double USB inputs to connect two laptops at the same time making DJ changeovers easier. The X1800 is also Serato DJ Pro certified and will work with your Serato DVS setup.

Although there are two mic inputs on the console, there is only one XLR input (on the top) and 1/4” input (on the back).

There’s no AUX input here which seems a little strange, but hey – it’s giving us so much already and you’d be hard pressed to truly find yourself running out of other input options.

There’s plenty more to the X1800 and I’m only skimming the surface of some of the main features. Well worth a look at in any professional setup for its durably and flexibility alone, this is forward thinking and should stand the test of time for the foreseeable future.

BY THE KNAVE

HITS ∙∙ Excellent quality ∙∙ Integrates perfectly with the SC5000 Prime ∙∙ Great input and output selection MISSES ∙∙ N/A

DIRECTORY

EVOLUTION MUSIC

SKY MUSIC

DANGERFORK PRINT CO

A | 8/2 Northey Rd, Lynbrook VIC P | (03) 8787 8599 E | info@evolutionmusic.com.au W | evolutionmusic.com.au /evolutionmusicaus

A | 4/2181 Princes Hwy, Clayton VIC P | (03) 9546 0188 E | info@skymusic.com.au W | skymusic.com.au /skymusiconline

A | 1-5 Perry Street, Collingwood, VIC P | (03) 9417 5185 E | info@dangerfork.com W | dangerfork.com / dangerfork

(Recording Studios) A | 230 Crown St, Darlinghurst NSW P | (02) 9331 0666 E | bookings@damiengerard.net W | damiengerard.com.au /damiengerardstudios

AA DUPLICATION

FIVE STAR MUSIC

THE AUDIO EXPERTS

MAKE MERCHANDISE

A | 84 Nicholson St, Abbotsford VIC P | (03) 9416 2133 E | sales@aaduplication.com.au W | aaduplication.com.au /AADuplicationServices

A | 102 Maroondah Hwy, Ringwood VIC P | (03) 9870 4143 E | websales@fivestarmusic.com.au W | fivestarmusic.com.au /fivestarmusicoz

A | 2065 Dandenong Road, Clayton VIC P | (03) 9545 5152 E | sales@theaudioexperts.com.au W | theaudioexperts.com.au /TheAudioExpertsAus

(Screenprinting, Embroidery & Promotional Products) A | Unit 22/7 Lyn Parade, Prestons, NSW P | 0423 740 733 E | sales@makemerchandise.com.au W | makemerchandise.com.au /MakeMerchandise

EASTGATE MUSIC

NEWMARKET STUDIOS

LEARN MUSIC

SOUNDS EASY PTY LTD

A | 1131 Burke Rd, Kew VIC P | (03) 9817 7000 E | sales@eastgatemusic.com W | eastgatemusic.com.au /Eastgatemusic

A | 87-91 Arden Street, Melbourne VIC P | (03) 9329 2877 E | callum@newmarketstudios.com.au W | newmarketstudios.com.au /newmarketstudios

A | 311 High Street, Kew VIC P | (03) 9853 8318 E | learnmusic@bigpond.com W | learnmusic.com.au /kewlearnmusic

(Music Technology & Instruments Retailer) A | Suite G05, 15 Atchison St, St Leonards NSW P | (02) 8213 0202 W | soundseasy.com.au /dsoundseasy

JABEN AUDIO

VINYL REVIVAL

BINARY MUSIC

(Music Instruments Retailer & Education) A | 48 Bloomfield St, Cleveland QLD P | (07) 3488 2230 E | sales@binarymusic.com.au W | binarymusic.com.au /binarymusic

SOUNDS ESPRESSO

(Record Store & Café) A | 268 Victoria Road, Marrickville, NSW P | (02) 9572 6959 E | soundsespresso@hotmail.com W | soundsespresso.com.au /soundsespresso

HYDRA REHEARSAL STUDIOS

MELBOURNE MUSIC CENTRE

CONWAY CUSTOM GUITARS

GLADESVILLE GUITAR FACTORY

EASTERN SUBURBS SCHOOL OF MUSIC

DEX AUDIO

MONA VALE MUSIC

TURRAMURRA MUSIC

(Music Instruments Retailer)

(Printing/CD & DVD Duplication)

(Music Instruments Retailer)

(Headphone Specialist Retailer) A | Shop 2 398 Lonsdale St, Melbourne VIC P | (03) 9670 8231 E | info@jaben.com.au W | jaben.com.au /jabenau

(Rehearsal Rooms) A | 18 Duffy Street, Burwood VIC P | (03) 9038 8101 E | hydrastudios@bigpond.com W | hydrastudios.com.au /hydra.rehearsal.studios

(Music Lessons) A | 10 Floriston Road, Boronia VIC 7 Sahra Grove, Carrum Downs VIC P | 0421 705 150 E | essm@essm.net.au W | essm.net.au /easternsuburbsschoolofmusic

(Music Instruments Retailer)

(Music Instruments Retailer)

(Music Production Studio)

(Vinyl and Record Specialist) A | 405 Brunswick St, Fitzroy VIC P | (03) 9419 5070 A | 128 Sydney Rd, Brunswick VIC P | (03) 9448 8635 E | info@vinylrevival.com.au W | vinylrevival.com.au /vinylrevivalmelbourne

(Music Instruments Retailer) A | 525 North Rd, Ormond, VIC P | (03) 9578 2426 E | info@melbournemusiccentre. com.au W | melbournemusiccentre.com.au /melbournemusic.centre

(Audio Visual Retailer)

(Screenprinting & Design Service)

(Audio Visual Retailer)

(Music Education)

(Luthier) A | Wynnum, QLD P | 0408 338 181 E | info@conwaycustom.com.au W | conwaycustom.com.au /conwaycustomguitars

(Music Instruments Retailer)

A | 393-399 Macaulay Rd, Melbourne VIC P | (03) 8378 2266 E | mail@dexaudio.com.au W | dexaudio.com.au /dexaudioaustralia

A | 55 Bassett Street, Mona Vale NSW P | (02) 9986 0589 E | info@mvmwarehouse.com W | www.monavalemusic.com / monavalemusic

DAMIEN GERARD STUDIOS

(Music Instruments Retailer) A | 280 Victoria Rd, Gladesville NSW P | (02) 9817 2173 E | mail@guitarfactory.net W | guitarfactory.net / GladesvilleGuitarFactory

(Music Instruments Retailer)

A | 1267 Pacific Hwy, Turramurra NSW P | (02) 9449 8487 E | general_sales@turramusic.com.au W | turramusic.com.au / TurramurraMusic

Not In The Directory?

C O N TA C T

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J E S S @ F U R S T M E D I A . C O M . A U

T O

S E C U R E

Y O U R

P L A C E

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SHOW AND TELL

Scottie Simpson Guitarist for Alpha Wolf What piece of equipment do you have to show us today?

My ESP LTD EC-401B. How did you come across this particular item?

I was tracking a friend’s band out of my home studio, he brought in this guitar to track with and I fell in love with it. It just played so well and sounded great for both rhythm and lead. 12 months later I was thinking about purchasing a new guitar that I could install an Evertune bridge in, and immediately thought back to that guitar. So I hit him up, and he sold it to me straight away!

What is it that you like about it so much?

The Evertune bridge is easily the best upgrade I’ve ever done to a guitar. It has completely changed both the bands live shows, and my studio recordings.

No more stressing about tuning, which for Alpha Wolf in drop G in any other circumstance, is always a bit of a nightmare. The 27” baritone neck assists with being able to have lighter gauge strings, while still holding perfect tension with the Evertune. Whereas for the studio, half your day is spent checking tuning, and making sure whatever you are playing is perfect. You save so much time with an Evertune and you get so much more out of your day. I want them in every single one of my guitars.

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

I’ve always been a six string guitarist since I started playing guitar. I switched to a seven string in Alpha Wolf for a while, as I didn’t have a guitar that could hold Drop G comfortably. However now that I have this guitar, my seven string has been demoted to my back up guitar and I’m back to what I grew up playing!

I want a guitar I can bash around and not have to worry about, which is exactly what this is. I plug it in and I can start riffing straight away. It makes writing at home super comfortable and stress free.

Tell us a little about what you have coming up?

Our EP Fault is out April 19th through Greyscale Records and SharpTone records.

We are touring Europe in April with Emmure, as well as playing some Impericon Festivals whilst we’re out there. We then come back for an Australian headline tour in May & June, and a hell of a lot more touring through the year to be announced. This will be the busiest Alpha Wolf year yet, and I couldn’t be more stoked.

Fault is our Friday April 19 via Greyscale/SharpTone Records.

Corey Friedlander Drummer for City Of Souls What piece of equipment do you have to show us today?

This is my drum kit that Tama custom made for me few years back. I call it the Stealth Kit inspired by the Batmobile from The Dark Knight Rises.

It’s a Tama Bubinga Starclassic and all my cymbals are Paiste.

How did you come across this particular item?

At the time, I was really getting into Tama and I had an old band member from In Dread Response working at Music Works. He sent Tama my personal press kit and they agreed to build me my dream kit and take me on as an endorsee.

What is it that you like about it so much?

Not only is it made of pure bubinga; the African swamp wood, but it is known for being tight with massive low end, it sounds like the drums have already been EQ’d when hit under scrutiny and just sings through the PA and in the studio. The sizes of the toms are a little bit shallower than standard and the bass drums are extra deep in length which has created my signature sound for the last eight years. I also love the black and blue colour combo which is also kind of sci-fi like something out of Star Wars when the lights hit it.

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

With the cymbal setup that I have, each Paiste cymbal gives me a very different dynamic and textural array of soundscapes. City Of Soul’s guitarists, Steve, Trajan, Marcus and bassist Dan tune extra low, so I can complement that with the super low tuning of my toms giving the section a real tribal feel (similar to the likes of a Tool, Sepultura or Meshuggah vibe). I also try to keep things as symmetrical as I can with the setup since I do a lot of open hand playing.

Tell us a little about what you have coming up.

City Of Souls next show is in Auckland as direct support for Sevendust in April and from there we plan on touring New Zealand and head back over to Australia in July. Later in the year we will release our debut album, produced by Forrester Savell, and a couple more songs and videos so keep an eye and ear out.

Catch City Of Souls on tour with Circles and Ebonivory in July.

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