Product Reviews

LiveTrak L-8 DYNAMIC MUSIC AUSTRALIA | DYNAMICMUSIC.COM.AU | EXPECT TO PAY: $939

One of the more interesting developments to emerge from the digital revolution has been the rise (and continued rise) of the podcasting medium. For a generation weened on smartphones and the unprecedented viewer sovereignty afforded by streaming services like YouTube and Netix, podcasts provided a breath of fresh air, a departure from the played-out tropes of drive-time radio and ENG broadcast that had previously dominated the airwaves in the decades prior. But there is more to the podcasting movement than just a gradual shift in how we consume content, the emergence of podcast as a legitimate force has also brought with it a demand for specialist tools in what is, a relatively new trade. Zoom have been on the cutting edge of this kind of stuff for years. The companies continued dedication to location recording and portability have seen them emerge as something of an industry standard for anyone working in the video/sound design/ content space. If it involves audio and a location, chances are you will nd a Zoom product somewhere in the vicinity, such is the companies omnipresence in the eld.

Zoom’s new LiveTrak L-8 takes this same ‘go-anywhere’ ethos and applies it to the relatively terrestrial world of studio/podcast peripherals, and the results are liberating to say the least. In order to review the LiveTrak L-8 properly, its important to note that it is really two mixers in one.

For the musically inclined, the L-8 has all the makings of an extremely portable and

mixdownmag.com.au exible recording set-up, with six hybrid line/XLR inputs (each with 48v phantom power), an intuitive layout and a selectable three-band EQ; more than enough to get things down with a minimal amount of fuss. I would of loved to have seen a simple compressor/limiter included on the unit, but in terms of standard DAW workow, this is something that can easily be amended in the box. Perhaps one of the more impressive aspects of the LiveTrak L-8 (and one that denitely impressed this reviewer) is when you realise that all of the aforementioned features are powered by the USB Bus alone, something that would have previously been inconceivable a few years ago. I’m still scratching my head as to how they managed to pull this off, as the amount of processing on offer (not to mention the ability to run 6 phantom powered mics simultaneously), would normally render the need for a wall mounted power supply, completely inescapable. The fact that the L-8 manages to do all this with bus power and batteries alone is really quite a remarkable achievement and one that only adds to the units elite level of portability.

For a mixer that looks to be more geared towards the content creation crowd, the L-8 really has no business being as musical as it is. The plug-and- play convenience, along with the L-8’s unique SD storage capabilities and diminutive size that combine to make it an obvious choice for rehearsals, location recording and demoing on the y, and all with enough i/o exibility to make traditionally cumbersome tasks like laying down drums and recording live shows a relative breeze. The fact that it ts so easily into a backpack, makes the L-8 an absolute must-have for anyone lacking a dedicated recording space or for the itinerant producer looking to take their recordings outside the bedroom. The other side of the coin (and perhaps where the L-8 really reaches its stride) is as a workstation for podcast. With various nods to the world of professional broadcast peripherals/AMU’s (assignable pads, phone-in capabilities and onboard transport controls just to name a few), the LiveTrak L-8 sits rmly at the top for the heap for those looking for an all-in-one solution for podcast.

The fact that it can record to both DAW and SD card simultaneously also gives the LiveTrak L-8 a level of redundancy seldom afforded in the prosumer space. The assignable pads allow for ongoing SFX gags (if that is your vibe) and the onboard faders and multiple headphone outs do a lot to keep everyone in check from a volume/ monitoring perspective. Perhaps one of the remarkable aspects of the Livetrak L-8 is how seamlessly it integrates these broadcast standard features into a mixer for the home studio. Designing a mixer/interface that caters to both music and podcast types in equal measure is by no means an easy feat. Both disciplines bring with them their own unique set of conventions and production requirements and it’s hard to please everybody. Thankfully, Zoom have done a more than commendable job of integrating enough of both worlds to make the L-8 a more than capable mixer on all but the most high end of applications. Musicians will be drawn to it by its simplicity and minimal power requirements, podcasters will be impressed by its technical thoroughness and ease of use. While this kind of versatility is alone worth the price of admission, it’s the ability to have a dual-purpose, eight channel interface/pod studio that you can put in a backpack and power from your laptop, that really sets the LiveTrak L-8 apart from its contemporaries (and in many ways echos the same sentiments that have made Zoom’s handheld and eld offerings such a massive hit). The positive effect this kind of portability can have on your workow cannot be overstated. After all, when it comes to the creativity, be it musical, content or other. Convenience is always king.

BY PAUL FRENCH

HITS: ∙ Super Versatile ‘2-in-1’ mixer ∙ Insanely portable

MISSES: ∙ No Dynamic Processing

UR22C Recording Pack YAMAHA MUSIC AUSTRALIA | AU.YAMAHA.COM | EXPECT TO PAY: $449.99

Home recording is an endlessly growing market. As it becomes more and more accessible, more and more amatuer musicians record their own stuff at home, while professionals are able to work from home more and lower their overheads. Steinberg has been at the forefront of both professional and amateur audio for some time, producing variations of Cubase and Nuendo, as well as branching out into interfaces and sound cards, again, offering products for any level of profession. In a bid to encourage more people to record at home, Steinberg offers the UR22C recording pack, an updated package that contains everything you need besides a computer to start producing hit records at home via USB-C. The pack contains a great and very usable microphone for a variety of sources in both the studio and at home, and would be a great  rst microphone for podcasting and streaming, of course coupled with the sleek-looking and great-sounding ST-H01 headphones.

The UR22C itself is a 2-in/2-out audio interface that connects via USB-C, offers phantom power to both combo XLR / 1/4” jack inputs, peak metering, gain control and a Hi-Z input for connecting a guitar direct to the interface for use with plugin ampli er emulators etc. It can record at up to 32-bit/192kHz, which absolutely matches (and admittedly exceeds realistic use) professional grade interfaces and sound cards. The included condenser microphone, the ST-M01, is a reasonably sized condenser that responds with an even and honest voice. Even for seasoned professionals, the ST-M01 is a handy mic to have around, while the ST-H01 are a great headphone with better than expected isolation and a balanced yet pleasing response. While recording, it’s important that monitoring is honest but doesn’t fatigue the ears, and the ST-H01 ful ll this brief. On the subject of monitoring, the UR22C interface features a mix knob to blend between input signal and DAW playback, for latency free monitoring if need be. There’s MIDI in/out for connecting a MIDI controller and main monitor outputs for external speakers with a volume control independent of the headphone mix.

In use, the UR22C recording pack is great. It really does contain everything you need to start recording, including a mic cable and mic stand clip for the ST-M01. I was up and running in minutes, and the pack also contains a download of Cubase’s streamlined Cubase AI, a complete DAW for recording and mixing, as well as WaveLab LE, a mastering and  nishing software package. What’s more, Cubase AI includes a bunch of plugins to tweak and hone in on your sound once it’s recorded. There’s channel strips, time-based effects for space and ambiance, as well as a suite of guitar and bass ampli er plugins for direct-recording and re-amping. The interface connects easily

and, where USB-C is available, data transfer is phenomenally fast. Monitoring is crystal clear through the ST-H01 headphones, and the ear cups sit comfortable against the head, even for extended periods. Cubase is fairly easy to navigate, even for beginners, and Cubase AI is even more so.

Steinberg provided a great product in the  rst of their recording packs, and continue to do so in every revision, now in the UR22C Recording Pack. The UR22C interface itself is a stellar and worthwhile investment, providing both a great  rst interface for budding music producers, and a great solution to on-the-go or home recording when away from a bigger studio, as it is bus-powered when using USB 3.0 and USB-C, so no external power is required. Even for seasoned veterans with mic lockers full of vintage colour and taste, the ST-M01 will  nd its way onto recordings in one way or another. The UR22C recording package is

PRESONUS

StudioLive AR8c LINK AUDIO | LINKAUDIO.COM.AU | EXPECT TO PAY: $699

PreSonus just keep pumping out top quality mixers at affordable prices! Whilst similar to its predecessors, the new StudioLive AR8c offers improved gain staging, EQ design, the addition of digital effects and - as the name suggests, USB-C compatibility. There’s freedom to mix on the  y before recording everything from podcasts to live sets and studio sessions, and you’ve got the option of tracking each individual channel alongside the main mix. As always, PreSonus make sure to provide a logical and compact work ow with each button or knob having only a single function.

The sizable fader knobs gift -80dB to +10dB range for each channel as well as independent FX and aux mix control. The StudioLive AR8c comes with four XLR mic inputs each with a high-gain XMAX-L mic preamp and 48V phantom power – perfectly designed for podcasters that frequently have additional guests and are in need of multiple microphone setups. The interface itself delivers 24-bit/96 kHz audio, and you have an initial 12dB to 55dB variable gain knob before a responsive threeband EQ. Every channel has its own AUX, FX, pan and mute control as well as a PFL (pre-fade listen) button. This is excellent for  guring out how much headroom you’ve got on a channel before fading in with the AUX, FX or rest of the mix– note that it does not bypass the channel’s EQ. For musicians, inputs one and two also have an instrument/line in. You’ve got low cut and a substantial gain boost added at the press of a button without sacri cing quality sound. You can really crank up the volume after tracking and hear how crisp and clear the recording is with such little noise present. Inputs 3/4 and 5/6 can instead take dual 1/4” jacks for stereo or mono recording. These inputs also feature a +10db gain at the press of a button. Channel 7/8 provides you with a stereo 3.5mm jack or dual RCA input – ideal for playback through samplers, record players or synth modules. Furthermore, Bluetooth wireless connectivity is also included so you can remotely play music off your choice of device.

The list of 16 onboard digital effects is tastefully included, with reverbs and delays as well as a slick tape echo and chorus. You’ve got complete control over the blending of these effects into each channel, which is a nice touch for a live setting and PreSonus have done well not to overdo it with token effects that you’ll never want. USB-C connectivity means you can hook up the interface to nearly any computer and record through your choice of DAW – PreSonus’ Studio One Artist is included with the purchase of the mixer. Alternatively, using the onboard stereo recorder you can record the main mix straight to an SD card without the need of a computer. Simply press the USB/SD button to swap

between playback sources. I can see why this may appeal to some people and it’s de nitely a good back up plan to have. However, you’ll tend to need a laptop at some point during the production process anyway, and everyone seems to have one on hand these days, so I don’t see this as being a huge drawcard. Despite being one of the smallest PreSonus StudioLive products, this unit is a bit bulky overall, although, when you weigh it up against the quality of the preamps it shouldn’t be a problem. It would probably best suit musicians, particularly in small bands, that are often playing in different locations, as well as home studio artists that want to upgrade from a simple two channel interface. The analogue/ digital hybrid gives you much better control over the tracking process and the option of playing live. Also, for monitoring purposes you can playback up to four streams of previously recorded tracks. But as I mentioned, you’ll

a no-brainer for anyone either already in, or getting into recording, whether that be professional or just at home.

BY LEWIS NOKE-EDWARDS

HITS: ∙ Contains everything to start recording ∙ All products will be useful even as experience grows

MISSES: ∙ N/A

need to  nd a good bit of extra desk space. In any case, I am yet to see PreSonus sacri ce quality of sound in any of its products, you cannot be unhappy with what this unit can deliver.

BY JACK SWANN

HITS: ∙ Crisp quality with very low noise levels ∙ Four top quality XMAX mic preamps

NT-USB Mini RØDE | RODE.COM | ENQUIRE FOR PRICING

If you want to buy a USB desktop microphone, you could be spending anywhere between a $3 op shop nd to the lofty heights of the nearly $500 Apogee HypeMiC. The yellowed-plastic gooseneck variety everyone seems to have in their shed may get the job done, but what if you want something higher quality without breaking the bank? Røde arrived on the scene last year with their impressive NT-USB microphone, jam packed with accessories and features. It was a great mic, although it seems Røde wishes to expand their audience even further with the new NT-USB Mini, at around three quarters of the price.

When you purchase a Røde, you’re not just buying a microphone. The heritage of a proud Australian brand comes along with it, and this is immediately evident upon opening the box. There are no corners cut, and not a single penny pinched. The solid steel chassis of the NT-USB Mini gives it a marvelous heft, weighing 585 grams without even considering the sturdy base. Paired with the remarkably strong magnetic mounting system, once planted on a desk or attached to a stand this beast isn’t going anywhere unless you make it so. When it comes to the sound quality, there are a few takeaways. Before any treatment whatsoever, the frequency response comes across as quite at. The positive of this, is that it in no way suffers from harsh sibilance that a lot of cheaper condenser microphones do. However, as this particular Røde offering is marketing itself as professional studio quality, I can’t help but feel it falls a little short of its regular big brother the NT-USB. If you are the ddly type and are happy to do some post-production, some tactical EQ cuts at 300-400Hz and boosts at around 10-12kHz will really work wonders for this microphone, bringing it up into the leagues of the legendary Blue Yeti, but with arguably improved build quality. to put in a little work to get it sounding the way you want to, it can punch above its weight impressively. For the entry-level podcaster, or the singer/songwriter looking to record their rst tunes, you need something which will last a lifetime and not take years worth of busking to pay for. The NT-USB Mini does just that.

BY FERGUS NASH

The inbuilt pop lter does do its job well, and considering the NT-USB Mini was never designed to be right up close to the mouth for something like live vocals, plosives are not something to worry about here. When placed more than 50cm away from the voice however, perhaps a bit further back when using on top of a desk, the noise rejection begins to show its limits. The slight roomy echo is a calling card for USB desktop microphones, and unless your room is very well treated with acoustic foam or the like it is more than likely that this will always be the case. I tested the noise rejection further by turning on a moderately noisy fan a few metres behind the microphone. It was denitely audible, but didn’t distract too much from the main vocal signal other than the low rumble which can easily be abated with the help of a high-pass lter. The Røde NT-USB Mini is by no means a poor choice for the budget, especially considering its quality of craftsmanship. If you’re willing HITS: ∙ Flawless construction ∙ Impressive mounting system ∙ Bang-for-buck

MISSES: ∙ Inconsistent noise rejection.

A U D I E N T

EVO 4 By Audient STUDIO CONNECTIONS | STUDIOCONNECTIONS.COM.AU | EXPECT TO PAY: $199

Since the dawn of solo artists making their own DIY EPs, two things have always rang true. You need to have songs to play, and you need to have researched the very basics of audio engineering. With the release of the EVO 4 by Audient, songwriters have no excuses not to make their presence known and get recording. Grabbing the EVO 4 out of the box, it’s no hassle at all to get the interface set up with a computer. The four-step instruction leaet has you operating the unit within minutes. Impressively tiny at only 14x6.7cm, there’s no need for bulky AC power adapters either. Plugging in with a single USB-C cable, the EVO 4 makes for a highly portable solution should you want to quickly record that ash of genius you have in a hotel at three o’clock in the morning.

One of the features which differentiates this interface from many of its competitors (other than the low price for the 24bit/96kHz quality) is the Smartgain technology. Just select which channel you’re using, enable Smartgain mode, make some noise and the input gain will adjust itself. This method seemed to be quite foolproof, making sure that absolutely anyone can get great gain structure and avoid harsh digital distortions or piercingly loud noise-oors which can often be a hallmark of home studio rookies. I decided to try recording one of the most unpredictable elements out there, an acoustic guitar pickup straight into the direct input of the front panel. As long as you don’t set the Smartgain by strumming a soft folk song and then smash your strings with a rendition of your favourite punk band, you shouldn’t run into any issues as those spiky transients can clip even the lowest gain settings. The preamps are as they should be in this price range, clean and unnoticeable. If you are so inclined however, you can of course set the gain manually with the monolithic control knob at the unit’s centre. If I had to nitpick one issue with this device, it’s that the detents of the knob feel quite slippery and hard to really ‘lock’ into for that satisfying click we musicians seem to crave. A smooth rotation may have been the better solution, but this complaint is truly grasping at straws. Some may argue that for any modern piece of equipment, USB 3.0 connectivity is a must. However I had absolutely no issues with latency, either with headphones plugged into the unit or through my laptop, so the USB 2.0 seems to be pulling more than its fair share of weight.

My favourite feature of the EVO 4 is the Loopback function. If you’re wanting to use the EVO as a way to record podcasts over Discord, or maybe gaming content for YouTube or Twitch, it is so easy to get your computer audio routed through alongside your microphones.

The lightweight nature of a small USB device is something to be noted as well. If you view the EVO 4 as a portable, quick and easy solution to recording ideas or even full songs at good quality, then the 360 gram interface is denitely something to admire. However, if you plan to use it in a dedicated home studio setup, you may wind up nding that it doesn’t like to stay put once it has a few cables plugged into it. Especially the stiffer breeds of speaker and instrument cables can easily push the EVO 4 off a desk.

All in all, Audient have clearly put a whole heap of thought into this thing. Nothing has been left to chance in terms of its ease of use, and it assumes nothing in the expertise of its end users. For a budding songwriter signing up to Soundcloud, or

a touring rockstar needing to capture the ashes of genius, you cannot go wrong with the EVO 4.

BY FERGUS NASH

HITS: ∙ Low latency ∙ Beginner friendly ∙ Impressive Smartgain MISSES: ∙ Control knob is a little slippery ∙ Very light

Scarlett 2i2 USB Audio Interface INNOVATIVE MUSIC | INNOVATIVEMUSIC.COM.AU | EXPECT TO PAY: $289

Focusrite essentially revolutionised the home recording market with the Scarlett USB interface series, and with their third generation, they’ve only further asserted themselves as an industry leading brand. This new generation of the red classic features improved preamps, and the ultracompact and lightweight unit features 24-bit/192kHz converters, which give you exceptional clarity and detail with next to no latency. It will slot into any bag pocket for on the go recording – simply power it up by connecting your Mac or PC via USB.

The instrument inputs feature very high impedance and headroom, essential for plugging guitars or basses straight in. The responsive Gain Halo function lets you easily adjust to avoid clipping, overall giving you a crisp and accurate recording without unwanted distortion. You have the option of connecting XLR or instrument jacks to either input, with an individual gain control knob for each and 48V phantom power available for microphones that need it. Also for recording you’ve got a choice between ‘instrument’ and ‘Air’ modes. The Air function emulates Focusrite’s original ISA preamps - ideal for miking up instruments or recording vocals. This tends to deliver a much brighter and open sound, especially handy for vocals. However, as with any new interface it will take a little  ddling to  nd the right settings for your own needs. Adjust the independent monitor and headphone volumes, and you’re ready to record. The 2i2 offers independent recording and playback of both channels. For any new artists looking to fully harness their musical talent or those of you wanting to explore new degrees of in the box music making, the 2i2 interface also comes with a whole range of recording software, sounds and plug-ins.

This includes a starter version of both of the industry standards, Ableton Live and Avid Pro Tools, as well as a three-month subscription to Splice Sounds. The bank of royalty-free one-shots, loops and presets are added to daily and already feature millions of high quality releases. Finally, there is access to the Softube Time and Tone Bundle, and a range of Focusrite plug-ins packed full of mixing and mastering tools. That said, these do get a little overwhelming at times. Companies love giving consumers an outrageous list of add-ons and extras, and it’s easy for them to chew up so much of your time sorting through them and  guring out what works for you - often at the expense of creativity. If you’re up to date with the tech and committed enough, Focusrite continue to release free downloads every couple of months, so you really never know what you might come across.

Keys players will also be aware of a lack of dual instrument inputs, as well as MIDI I/O (although larger models boast these

RØDE

PodMic RØDE | RODE.COM | ENQUIRE FOR PRICING

If you’ve been following  lmed podcasts and radio for any amount of time, chances are you recognise the Electro-Voice RE20. It’s an absolute classic for recording narration, and has also found much love in studio circles recording anything from voice, to guitar and even kick drums. They say imitation is the highest form of  attery, and if this is the case then Røde has been  attering the RE20 for years. From the Podcaster to Procaster, the Røde team have put their own spin on the legendary dynamic mic, even making one a condenser, but always bringing it down to a more affordable price point. The most affordable so far - the PodMic. Affordability however is never an indication of quality when it comes to Røde products, with everything from accessories to the body of the microphone itself being of the utmost quality of engineering. With reassuring weight and solid XLR pins, the PodMic is easily positioned within its bracket. Even without the two year warranty, this tank of a microphone should handle all the knocks and scratches which could be possibly thrown at a studio microphone. The sector-cut chassis is of course evocative of RE20-type microphones, but the sleek black steel modernises it signi cantly. The shorter length helps this too, as well as compacts setup space. While it may sound silly, being able to see the faces of the people talking in a  lmed podcast is another boon of the 17.2cm length. It really is an attractive microphone. This style of microphone must excel in two things. Crisp, clean, yet slightly pokey high end, and warm, bellowing bottom end. All this and more arrives in droves with the PodMic. Some may say that to compare a sub-$200 microphone with one that is more than triple its cost would be unfair, but it is a testament to the PodMic at how close it comes to the RE20. At close proximity the two are nigh indistinguishable. The booming low end can make even the squeakiest of voices sound like melted butter dripping down Optimus Prime.

Hyperbole aside, the PodMic’s frequency response graph may look like the mountains of madness, but the characteristic bumps at 120Hz, 900-1000Hz, and more speckled between 5-10kHz are exactly the kind of EQ sculpting which would occur in postproduction anyway. The dip in the low-mids are the icing on the cake as far as plugand-go recording is concerned, making the PodMic near perfection for anyone wanting to chat away without worrying about tedious EQ processing. The sound quality is only impacted by two things. Firstly, proximity is paramount for this microphone. From even 10cm away there is a noticeable loss of low end, even with a loud bass-registered singer. Secondly, features). If you’re looking to split an instrument to its left and right during recording you need to use both inputs and pan them in your DAW. This can be frustrating at times if you’re recording several instruments or playing with other people, as you’re only able to do things one at a time and then have to readjust your gains to swap back and forth. However, the Scarlett has always tended to lure in solo performers or producers, so I’m sure they won’t be too fussed about this. Overall, the third generation of Focusrite’s iconic interface still proves that these guys are the rightful rulers of their market. The Scarlett 2i2 is still best suited to home studio artists looking for an easy way to get their songs recorded and to begin playing around with digital workstations. At the end of the day you cannot knock the 2i2 for

the inbuilt pop  lter leaves a little bit to be desired, especially with sung vocals instead of spoken word. For music recording, a balancing act may be required to introduce a seperate pop  lter whilst still keeping enough proximity for that gorgeous low-end to gather around the capsule. The results though, are more than worth that slight effort. Whether you are using the Røde PodMic for recording spoken word or sung vocals, there is very little out there which can beat it in its price range. It clearly comes from a place of great planning, and Røde’s long history of knowing how to ace a vocal microphone. It may not be the right choice for recording instruments, placing it outside the versatile realms occupied by ‘jack-of

any possible limitations; for the price you are paying, you’re receive the best possible quality of sound on the market. There aren’t many brands that are preferred over Focusrite when it comes to USB interfaces.

BY JACK SWANN

HITS: ∙ Ultra-compact and lightweight ∙ Affordable with excellent quality preamps

MISSES: ∙ Not suitable for multi-tracking ∙ No MIDI

all-trade’ microphones often found in this price range, but its the decisive and speci c nature which makes the PodMic so incredible at what it does.

BY FERGUS NASH

HITS: ∙ Solid build quality ∙ Fantastic sound ∙ Looks and feels great

MISSES: ∙ Sensitive to pops ∙ Needs close proximity to retain warmth

Satellite USB Microphone ELECTRIC FACTORY | ELFA.COM.AU | ENQUIRE FOR PRICING

Samson are a market leader in workhorse microphones, and they continue to design and produce affordable, consistent and reliable products. Upholding this reputation requires Samson to go where the market is heading, and the Samson Satellite is the perfect example of that. The Satellite is a 3-pattern condenser microphone, connectable via USB and features a headphone output. Designed for broadcasting, podcasting, live streaming, basic recording and impromptu inspiration capture, the Satellite literally stands in a eld of its own, thanks to the three legs that fold down from the main body of the mic. This makes the Satellite a phenomenal solution for live-streaming and gaming, both for inuencers and content creators, or as a podcast and interview microphone. The Satellite looks classy and serves its purpose professionally.

The Satellite doesn’t require any drivers, and the handy little mic can begin recording at 24-bit/96kHz instantly via either the included USB cable or lightning cable. This ensures you can have your iPhone or iPad ready with your Satellite for when news or inspiration strikes. Monitor latency-free via the 3.5mm headphone output on the chassis on the Satellite itself, or mute the headphone out and monitor from your computer. The Satellite features a 3-colour LED to signify power, clipping and a muted mic, and weighing in at just 0.34kg, it can be stowed away and taken anywhere, ready when you need it to be. The rubber feet that complete the legs isolate sound from table bumps that inevitably happen, especially when podcast guests get passionate, but be weary that at more precarious angles the Satellite is prone to toppling. It can, of course, be used with a universal shockmount and mic-stand.

Samson have produced an endlessly usable microphone. The Satellite records high quality audio, and the unit itself can be tweaked to t a variety of needs and situations. Three sturdy legs fold out from the body of the mic, and can be repositioned individually to allow precise positioning of the mic capsule. The mic responds from 20Hz-20kHz, so podcast guests with even the deepest voices can be captured. Be warned though, that because of the full frequency range of the dual electret condenser, the Satellite is susceptible to capturing bumps, trafc noise, air conditioning and low city rumble, so ltering out this noise could be required after the fact. Ironically, such a broad range microphone may hinder the sound more than help it. There wouldn’t be many scenarios besides capturing foley where 20-40Hz would be required, and the Satellite doesn’t feature a high-pass lter or low cut. The Satellite features three switchable patterns, designed for use with a single speaker in cardioid, two speakers in gure-eight and

NEUTRIK

NA2-IO-DPRO Dante Interface AMBER TECHNOLOGY | AMBERTECH.COM.AU | EXPECT TO PAY: $599

While audio school was for the most part, a particularly hazy period for me, I do have some pretty fond recollections of a unit called ‘Managing Audio Control Networks’. Compared to the studio stuff we were accustomed to, this unit felt like something from another world, as we dragged and dropped animated icons of audio periphery on to a blank screen apparently representing the paging system of an airport. I specically remember my web-dog lecturer making the proclamation that Dante was ‘the greatest Australian invention of all time’ (a claim that at the time I refuted, after all we have the lager-phone). As the years passed and my audio CV grew I soon started to realise that maybe he wasn’t that far off the mark. I mean as producers, we are pretty quick to think of audio through the artful lens of record making, yet there is a whole other (albeit drier) segment of the audio world that exists right under our noses, in the ceiling speakers above and the XLR wall inputs at the local rec centre. It’s the world of network audio, and in network audio, Dante reigns supreme.

In network audio, interfaces like the Neutrik NA2-IO-DPRO are important in that they serve as entry points to a much larger system, taking analogue signal and converting it into system friendly information protocol (in this case Dante), in turn giving said signal cart blanche to all the ridiculous routing options afforded by AoIP. This means 70m+ cable runs with little to no loss of signal, insanely large channel counts (via a single cable) and all with next to zero latency, making Dante absolutely ideal for complex, large scale installation projects like schools and airports and AV heavy applications like museums and art galleries. In short, an interface is a portal into a much larger world. So what makes a good Dante interface you may ask? Well basically the same criteria that applies to almost all other audio hardware. Build quality, choice of components and above all else - sound.

Upon unboxing the NA2-IO-DPRO, the rst thing that you notice is the moulded rubber exoskeleton surrounding the unit (almost like a tradie radio or one of those old Nokia’s designed to not break when dropped). This makes perfect sense when you consider the kind of life a Dante interface is likely to live. It’s an industrial product to be installed on site, so it only makes sense that it would bear these kind of heavy duty, commercial adornments. Some Dante interfaces feel like a cheap modem with a couple of XLR inputs attached. Sufce to say the NA2-IO-DPRO is not one of them. Everything about the unit has a look and feel of quality and the four Neutrik connectors allow for good, clean signal in and out of the unit.

For a company that made its bones as multiple speakers in the omni position, designed for when the Satellite is positioned in the centre of the table and surrounded by guests and voices.

All in all, the Satellite is a great buy for podcasters and live streamers who want improved and professional sound for gaming, streaming and recording. The Satellite captures a broad frequency range, which can hinder it a little bit by letting in excess noise, but that can admittedly be easily ltered out later. The Satellite was designed to be as easy to use as possible, and Samson have achieved that in this little condenser that offers three polar patterns, as well as latency-free monitoring if you need it, as the headphone out can also be muted. The Satellite is light, robust, and malleable both sonically and physically, as well as being fully-compatible with iOS for recording to iPhone or iPad. As an on-the-go mic it’s difcult to beat, as it can serve its purpose whether handheld or quickly placed on a table with its moveable legs as well as being compatible with a smartphone or tablet. The Satellite is as ready to work as you need it to be.

BY LEWIS NOKE-EDWARDS

HITS: ∙ Three-polar patterns for different scenarios ∙ Moveable legs allow for precise positioning

MISSES: ∙ Broad frequency capture can introduce noise as you would never need sub lows for streaming, gaming and podcasting

purveyors of the nest quality connectors out there, it comes as no surprise that the input and outputs on the NA-IO-DPRO are a cut above what one would normally see on an interface of this type. Two in and two out with Primary and Secondary Ethernet ports on the back that also provide power to the unit (with the help of a PoE switch or injector) it’s a very practical layout for a very practical product. People new to this kind of thing may be wondering why there are no controls or pots to be found anywhere on the interface itself. As is the norm in network audio, all features on the NA2-IO-DPRO are controlled via the very intuitive DPRO controller software that comes with the unit. Input gain, Phantom Power, Filters and Pads can all be controlled in the box, while output channels can also be muted and unmuted within the software. For someone who works primarily in the world of music production, this feels like a particularly novel workow and makes for a refreshing change from the world of hardware mixers and preamps. Dante or Digital Audio Network through Ethernet is in many ways the nal frontier for the budding audio geek. Already an omnipresence in the Broadcast and install world, its exibility, near zero-latency and minimal cabling have made it the de-facto audio protocol for any application that values new school efciency over gear fetishism. The NA2-IO-DPRO takes that famous Neutrik utilitarianism that has come to dene the brand and applies it to what is an extremely robust and quality interface for the install market, a perfect entry point to the unlimited possibilities of the Dante universe.

BY PAUL FRENCH

HITS: ∙ Outstanding build quality ∙ Incredibly useful

MISSES: ∙ Not much

MV51 USB Microphone JANDS | JANDS.COM.AU | EXPECT TO PAY: $299

Shure has been a trusted industry name for years, renown for unrivalled durability and performance. The MV51 is a USB powered condenser microphone aimed at podcasters and home music producers looking for a simple solution to capture audio. USB mics are becoming increasingly popular as users can avoid the need for audio interfaces by having a microphone that connects directly into your Mac or PC. It’s Plug and Play and that’s what we love – no messing about with drivers. Connect it via micro USB and its lights indicate it has come to life. The included USB cable is on the shorter side, but a longer replacement is only around the corner at your local electronics store.

The design harks back to the immortal design of the Shure Super 55 Deluxe, a beautiful vintage look that feels as sturdy as you’d expect from such a notoriously durable microphone producer. It’s 2020 however so where you might expect tact switches or rotary pots you’ve got a touch panel controlling the gain, a mute/unmute button, headphone volume button (the dial changes colour so you know it’s the headphone volume and not the mic gain) and the DSP mode selector. It features a small kickstand so it can sit comfortably on your desk, otherwise you can remove the rubber foot of the stand to reveal a standard mic stand thread. In use, we preferred the recordings where the mic was on a stand closer to the performer’s mouth so a stand could be an ideal additional purchase.

Like most vocal microphones, the MV51 shines at close range. The manual advises a distance of five to 30 cm for speech and we found it worked best at the closer end of that scale, though this was in a home studio not on a professional sound stage. It’s worth noting that there’s no internal pop filter so you’ll want to get one if you’re wanting to avoid harsh-sounding plosives from close range use. The large diaphragm is best suited to vocal applications but the five DSP settings offer alternate uses; Speech, Singing, Acoustic Music, Loud Music/Band and Flat. It’s a cardioid pattern and this doesn’t change with the five settings which are controlling the EQ, compression and limiting. These options are ideal for those new to the world of audio recording and are looking for a quick, easy solution to capture alternate sound sources.

Alternatively, there’s the flat setting if you’re looking to dial in your own EQ and compression down the chain. The microphone gain accompanies these settings well, with the lowest being suited to the Loud Music/ Band setting and the highest ideal for Speech. The downfall of early USB mics was cheap A-D converters and poorly designed capsules.

Shure has been making microphones a long time and to see what they’ve achieved with the MV51 at such a modest price point is impressive. To save the need for an audio interface will surely suit the demands of an ever-growing entry-level market. BY DAN NICHOLLS

A S T O N

Stealth Microphone LINK AUDIO | LINKAUDIO.COM.AU | EXPECT TO PAY: $599

Aston is a relative newcomer to pro audio and after launching the Origin a few years ago, the brand has quickly risen as a leader in affordable, workhorse microphones used by a huge range of top-level engineers and musicians. The newest addition to this range is the Aston Stealth: a robust condenser microphone with multiple voicing options that run both with and without phantom power. In the box is the Stealth itself, a cutesy little Aston logo pin and an innovatively designed mic stand clip. It took some fiddling before understanding how it works to support the weighty microphone. Aston microphones are built in Britain, and their intuitive design makes them a true workhorse that will be heard on countless records for years to come. Sincerely, they are a legend in the making.

When first opening the box, the Stealth is much bigger and weightier than I expected. The Aston’s Origin is quite a small microphone, whereas the Stealth, with its slick black finish and elegant purple lighting, is about 20cm long and weighs 700g. While the mic feels like it could take a beating, the microphones diaphragm is only covered by foam at the top end, unlike the steel mesh pop filter and wave form spring head protecting the capsules on the Aston Origin and Spirit models. The box also contains the new mic clip that slots into the bottom of the microphone’s housing. In any other mic, this would create rattle and leave the mic open to rattle and room sounds, however the Stealth is intuitively designed to isolate the capsule itself and prevents this.

The Stealth is mostly a conventional condenser microphone, but it can be run with and without phantom power (but you lose the cool lights without phantom, ugh). The highlight of the Stealth is its different voicing options, all vastly distinct. Many companies claim that their products are ‘4-in-1’ with some vaguely different settings, but the Stealth really lives up to this. Voices V1 & V2 are designed for vocals, with V1 offering a super transparent, clear and honest reproduction of the sound it’s capturing. V2 is the second voicing for a vocal, but with a much more pronounced high end, some shimmer and a very forward and present sound. This is ideal for a lead vocal, a hi-fi pop vocal, rapping, or any instrument that needs to sit forward and shine. The remaining voices, ‘G’ and ‘D’, are designed for guitar and the darkest and most vintage sounding of the four voices respectively. This replicates a much more colourful, harmonically rich sound with a high end roll off and generous lower-mid bump without being overbearing. This works best for a more vintage vocal and dark room sounds on any instrument you need it for. The ‘G’ setting is a really useable and handy setting. Similar in some sense to the famous Shure SM57, but with the response and size of a condenser microphone, it retains the rawness of a live guitar mic, like a Sennheiser e609. While it’s not a Swiss Army knife guitar microphone, it’s a nice blend of all the sounds you’d have in your toolkit. Though the names of the voices hint at their purpose, don’t let them hold you back. V1 as a mono overhead on a drum kit produces a crushed, almost overloading kind of room sound that would sit well beneath an array of spot mics.

All in all, if you’re looking for one Aston microphone or any new microphone, the Stealth should be your next addition. It’s a great introduction to Aston’s products and values, while sporting an incredibly versatile list of uses (that only increases with a stereo pair!). The different voicing have their own purposes and uses, but this really shouldn’t hold you back either. The microphone could be thrown up in front of any instrument or sound source and you’ll find a sound that sits nicely amongst an arrangement or that pops out to take centre stage if that’s what you need. The mic itself is sturdy, the clip is solid and the backlit voicing switch is classy. Aston mics are the workhorses of our time.

BY LEWIS NOKE-EDWARDS HITS: ∙ Sounds great at close range ∙ Awesome vintage design

MISSES: ∙ No inbuilt pop filter

HITS: ∙ Different options ∙ Robust, solid build ∙ Easy to switch between voices

MISSES: ∙ N/A

Go XLR Mini AMBER TECHNOLOGY | AMBERTECH.COM.AU | EXPECT TO PAY: $429

TC Helicon has taken the brains and functionality of their extremely well selling Go XLR and cut both the size and price in half. How does it compare?

Go XLR Mini is an audio interface made for streamers. Boasting four faders for audio control, mute buttons & censorship buttons for keeping your broadcast accessible, this hybrid piece of gear makes mixing on the  y a breeze. A dedicated optical input for your console plus a MIDAS preamped XLR input to ensure high-quality audio from the get-go. The Go XLR Mini also has four 3.5mm plugs for line-in, out, mic in and headphone out. One thing that makes this a must-buy for live streamers is the headphone out is exactly what is outputted through to OBS or your streaming platform of choice. No messing about with the stream to  nd out the mix is wrong or worse, that there’s no audio on there at all! Via the app, you can change the device to function in any way that suits your needs. Want to route audio from a program on your computer to one of the faders on the app? Apply EQ, compression and gating to all audio sources? Reprogram the mute buttons to other uses? The Go XLR Mini does it all. The best part of all is that all processing is done in the physical domain which means there’s no tax on precious computer processing power and no risk of a stream being cut off by the software crashing. A huge advantage over using virtual audio routing for streaming.

Also through the app, you have the ability to save presets, say for use with different consoles or games which makes using this interface a seamless experience. The Mini loses all the physical effects and motorised faders from the larger Go XLR for housing that’s half the size and weight. Personally, this is not a big loss as the effects on the larger Go XLR weren’t up my alley and the LED’s on the side of the faders indicate when you’ve loaded a preset, bringing the fader to that level allows the use of it again. The faders, although losing the motorised effect are now smoother and easier to use. The interface for the app is a breeze to navigate. The EQ, gate and compression settings are enough to achieve a professional sound but withholding all the extra features most people won’t use or miss. The EQ is a simple low, mid and high which is quite analogue in its approach. The gate has threshold, attenuation, attack and release controls, while the compressor has threshold, ratio, attack, release and make-up gain. The ratio control allows the compressor to become a limiter with ease.

The Midas preamp on the XLR input sounds gorgeous and extremely clean, with phantom power switchable via the app for use of condenser microphones or any other input

requiring 48v. The audio quality for input processing and digital mixing is done at 24bit/48khz, more than appropriate for online broadcasting. Unfortunately, there is no MAC application for the XLR Mini yet. Sorry Apple devotees.

The Go XLR and Go XLR Mini are possibly one of the only dedicated consumer audio interface built for streamers, podcasters and content creators. From the optical input on the back for direct input from gaming consoles to the inbuilt EQ/compression/ limiting, TC Helicon has both the professional and beginner streamers in mind.

BY SAM MCNIECE HITS: ∙ Quality hardware components ∙ Ease of use ∙ Suitable for professionals and amateurs

MISSES: ∙ No iOS support

PodMic DYNAMIC PODCASTING MICROPHONE

The RØDECaster ™ Pro is the world’s first fully-integrated podcast production studio. Whether you’re just starting out or a seasoned broadcast professional, the RØDECaster Pro is all you need to bring your podcasts to life.

The PodMic is a broadcast-grade dynamic microphone designed for podcast applications. With an in-built pop filter and a rich, even sound, it will give your voice a silky, professional quality. The PodMic can be used with any XLR interface, but is optimised for use with the RØDECaster Pro ™ .

The Lead II & III A blast from our past with screaming hot pickups & electric new colors.

LEAD II in Neon Green

LEAD III in Metallic Purple

MV88+ Video Kit JANDS | JANDS.COM.AU | RRP: $345

The Motiv MV88+ Video Kit is a professional companion to iPhone recording, providing an excellent digital stereo condenser microphone with accessories to make you a pro out of the box.

No instruction manual is needed with the MV88+, sticking to lightning cables and USB-Cs to link everything up. A roll-up pouch houses the microphone, phone clamp, mic clip and cables, though the mini tripod is separate. It’s compact and lightweight enough to t in a deep jeans pocket. There are four different congurations of the tripod and clamp to serve videography, self-recording, audio capture and desktop recording functions. The clamp and mic were exceptionally sturdy and housed both the phone and microphone comfortably without leaving residual marks. The mini tripod took some getting used to when positioning its legs, however it never slipped during recording. All recording is done via the free app ShurePlus MOTIV Video, downloaded from the App Store (iPhone only). It’s a highly intuitive interface that would offer more control for mobile recording even without the condenser microphone. The option for quick-change settings on the recording screen allows you to toggle through audio format, resolution, frame rate or sound quality without having to divert through menu screens. The accelerometer function also lets you ensure your recording is evenly set, particularly helpful for self-recording without the mini tripod. The application was seamless, occasionally stalling on a loading screen here and there, something likely to be patched up.

The audio recording can be formatted into WAV, AAC up to 256 kbps or Apple Lossless. Some might bemoan the lack of 320kbps and FLAC, but Apple Lossless is arguably near equivalent. The 48kHz quality recording however is truly exceptional - output to Audio-Technica M50X monitors, it’s almost surreal to hear the delity out of an iPhone recording. If you’ve encountered the MV88 microphone before you won’t be shocked at its performance more generally, as it contains the same electronics per specication. It does purport to receive less radio and cellular interference, though I was not able to qualitatively witness this. In theory, it would benet live streamers.

The microphone is principally designed for music, a fact made obvious when I recorded my speaking voice. Although the quality of recording is uniformly excellent, I found that unless speaking directly into the microphone I had to crank up the gain to for the desired clarity and balance. Otherwise, broadcast quality of podcasting could be achieved.

AUDIO-TECHNICA

AT-BP40 Dynamic Microphone AUDIO-TECHNICA / AUDIO-TECHNICA.COM.AU | EXPECT TO PAY: $499

Most people would look at this microphone and assume it was a condenser due to the large size of the housing and subsequent size of the capsule inside. But what Audio-Technica has done with the AT-BP40 is deliver an end-re large diaphragm dynamic microphone that has the natural characteristics of a dynamic microphone mixed with the clarity of a condenser microphone. This is a really clever design and one that is sure to make its way into more and more recordings in the future as engineers and artists alike discover what it has to offer sonically. This microphone instantly conjures up the idea of a broadcast situation, where an overhanging mount allows it to be moved around a radio studio for vocal work. And yes, that is an ideal use for the AT-BP40, as it is perfectly suited to broadcast operation for both radio and television work. The hypercardioid capsule offers excellent side rejection and a very direct pickup pattern to isolate one individual voice from others in the room. Furthermore, being a dynamic microphone, it picks up more sound from close range and doesn’t tend to capture much of the unwanted room noise that is often a problem with more sensitive condenser microphones. Take all this and consider the addition of a humbucking coil in the schematic to ensure further rejection of noise from electromagnetic interference, and the result is a microphone that lets you hear what you want and leaves the rest of it out. But it isn’t just a broadcast interview microphone; the AT-BP40 has so much more to offer. In the studio, this microphone delivers on all fronts. For vocals, especially in loud rock and metal applications, the AT-BP40 produces a sound that is very much reminiscent of a warm condenser microphone, but without the distortion that high sound pressure levels can create. This makes it ideal for a range of instrument uses too. Put it in front of a guitar amp and you’ll understand why it’s good to experiment with different microphones and positions. You’ll get so much more from the large diaphragm of the AT-BP40 than what you get from just sticking a 57 in front of your amp. With that in mind, it will work a treat for big, booming oor toms on a drum kit and even delivers the goods in front of a bass amp when the DI just isn’t giving you the natural characteristics you want. There’s very little this microphone can’t achieve and I can pretty much guarantee you’ll want to experiment with it to see just how you can change or improve certain sounds within your mix.

BY ROB GEE Catapulting the MV88+ kit into brilliance is its stereo image optioning. Choose between raw mid-side, mono cardioid and stereo to suit your recording needs, with stereo offering different widths of its recording eld (60, 75, 90, 105, 120 & 135 degrees respectively). Recording home demos is obviously best suited ddling with the stereo settings; the different widths gave me more than enough versatility to record a home band set up with almost impeccable clarity. The mix was as balanced as any high- recording mic could hope to attain and is simply unbeatable for guitar or gear demos lmed for YouTube. The sensitivity of the gain and compression ranges is equally excellent, giving you an unexpected amount of control over your unmixed sound. For journalists like myself, it is giddily useful; high delity interviewing via mono bi-directional stereo image and then dual-options for eld recording through raw mid-side and mono cardioid.

Videos and audio recordings are saved into their usual Apple le slots via the app, making it easy to export them onto your computer or iCloud quickly. It’s a shame you can’t name the les easily, but that’s an Apple OS stipulation.

Short of prescribing this as essential, the Shure MV88+ Video Kit is a vital beginners package for music, media and podcasting professionals. The MV88+ is an unimpeachable

condenser microphone for the price, and matched with an astutely designed tripodclamp and iPhone app system, it provides simple and intuitive control of quality audiovisual recording from your pocket.

BY JOSH MARTIN

HITS: ∙ Multiple phone-mic congurations ∙ Intuitive app control ∙ Excellent stereo image options ∙ Highly compact and affordable

MISSES: ∙ Nothing

HITS: ∙ Big sound from the large capsule ∙ Very direct pickup pattern ∙ Great noise rejection

MISSES: ∙ Bulky housing reduces placement options in some applications

Tone Master Amplifiers FENDER MUSIC AUSTRALIA | FENDER.COM.AU | RRP: TONE MASTER DELUXE REVERB - $1,549, TONE MASTER TWIN REVERB - $1,899

Fender’s latest Tone Master series is a love letter to some of their most treasured ampliers from their extensive catalogue. While Fender have experimented with digital modelling in the past, none have come close to rivalling both the sound and response of an all-tube amplier. That is, of course, up till now. In an unprecedented rst for the company, Fender have selected two of their most famous tube amps to undergo the fully digital treatment: the classic Fender Twin Reverb, and the ever-popular Deluxe Reverb. Aesthetically, the pair of two amps bear identical façades, apart from a small Tone Master logo embedded on the bottom corner of the grille. The classy combination of black tolex with a speckled silver grille cloth is as handsome as ever, and unmistakably screams out Fender from a distance. Front panel controls for both ampliers remain identical to their vintage counterparts: two sets of high/low inputs are available over two channels – purely dry, and a vintage channel which enables both reverb and tremolo effects. Only the red jewel light has been modied – it now ickers between amber and red to indicate operation status. Super nifty.

The very rst and most noticeable difference that separates these iterations from their older selves is their physical weight. The Twin Reverb is abnormally light – weighing in at an extremely manageable 15kg – less than half the weight of an all-original model. The Deluxe Reverb is even lighter still, at a mere 10.4kg. This is mainly thanks to the absence of the sizeable tube preamp and power stages, in addition to the ampliers material construction. Both are now housed in a lightweight pine cabinet,

and rock 12” Jensen N-12K neodymium speakers – a single for the Deluxe Reverb, and obviously a double for the Twin. These speakers harken back to the traditional C12K speakers of old but rely on lighter neodymium magnets to alleviate as much bulk as possible. After close inspection, the build quality is about what you’d expect from Fender these days: sheer excellence. Quality control has been outstanding in recent years from the company, and it’s a trend we hope to see continue. But let’s get one thing straight for all the tube snobs out there: these amps both feel and play like a genuine tube amp. Both amps run a highly efcient class-D power system that simulate their original wattages. The Twin runs at 200W into 4 ohms, simulating a vintage 85W output, while the Deluxe Reverb runs 100W into 8 ohms, imitating a true-to-spec 22W output. The increased wattage also allows incredible output exibility – both amps feature a ve-stage attenuator switch on the rear panel that goes all the way down to 1W for the Twin, and a mere 0.2W for the Deluxe Reverb. You’d never see the original versions of these amps in use for casual bedroom practice, but now, that scenario is entirely plausible.

In terms of sound, these amps stack up incredibly well. Fender claim that the Tone Master series is “virtually indistinguishable” compared to the all-tube original, and this dynamic duo certainly attests to that bold statement. The Twin’s clean tones are punchy and crystal-clear, and effortlessly generate the tight yet booming low end characteristics of a classic Twin Reverb. As you would expect, there is an incredible

amount of clean headroom on tap here. On the other hand, the Deluxe Reverb offers slightly more of a smooth and creamy tone with a slightly scooped midrange. Turning the volume up past six or seven even generates tube-like breakup, with a threshold that can be lowered at decreased wattage settings. The reverb in particular is eerily convincing; most digital amp modellers fall short in achieving the luscious tones of an authentic Fender spring reverb, but the high-quality DSP of the pair easily produces spacey, bouncy trails without breaking a sweat. The same goes for the tremolo – everything sounds incredibly accurate across the board. And for the pedal ends, don’t sweat. I was genuinely surprised at how well it took stompboxes – while not having the best dynamic response out there, the sounds produced were entirely applicable in a live setting. Thankfully, dirt pedals handle smoothly without overwhelming zz, while modulation effects like choruses, phasers and delays all perform with no complaint through these ampliers. its extended low end. And as an additional bonus, both amps come with a hardy amp cover and a modernised Fender two-button footswitch, which controls the onboard reverb and tremolo effects. What more could you ask for? The Tone Master series is more than a simple tribute to its roots. It’s proof that Fender are still hard at work, constantly innovating and changing the game one brilliant step at a time. Don’t forget – with no tubes present, you’re not just cutting weight out from the equation. You’re saving both time and money for inevitable maintenance, multiple tube replacements, and trips to the amp doctor. Pat yourself on the back Fender, you’ve absolutely smashed it with this one.

BY EDDY LIM

Apart from the handy power attenuator function, the pair of amps bear more hidden features perfect for both stage and studio. A balanced XLR line output coupled with a level control and ground switch is perfect for going straight into your favourite DAW or a live mix situation, in addition to an impulse response (IR) switch that toggles between three cabinet simulation settings: no emulation, a dynamic microphone, and a ribbon mic. The dynamic microphone setting is great for dynamically cutting through the mix when playing live, while the ribbon simulation setting excels at recording with HITS: ∙ Authentic, era-accurate tones ∙ Power attenuation ∙ Manageable weight

MISSES: ∙ Some might not dig the pine enclosure

Cambridge 50 Amplifier YAMAHA MUSIC AUSTRALIA | AU.YAMAHA.COM | EXPECT TO PAY: $549.99

For decades, Vox has maintained an excellent reputation on all their ampli ers ever since their conception. The company’s latest foray into the world of digital modelling aims to convey that same legacy across the globe in a lightweight, feature-rich ampli er that won’t break the bank.

Vox is no stranger to the realm of digital modellers, having released a variety of miniature and retro television-esque amps in the past. Their latest release, the Cambridge 50, bears the most similarity with the VX50GTV, but with a number of changes under the hood. Like its older cousin, the Cambridge is a 50-watt digital modelling ampli er powered by NuTube technology, but now equipped with a custom Celestion VX12 speaker compared to a smaller eight inch speaker in the VX50GTV. Aesthetically, it’s unmistakably Vox: the amp bears a classy elephant-black tolex exterior, covered with a matching diamond-hatched grille cloth and stamped with a silver Vox logo. The Cambridge 50 also features an open-backed design, eliminating the undesirable “boxiness” of similar-sized digital ampli ers. However, the main attraction of the Cambridge 50 is its wealth of beautifully rendered amp models, in addition to a variety of effects and miscellaneous features. There are a total of 11 preset programs, eight effects, and even two customisable user programs to choose from. You’ve also got access to a cab simulated headphone output, auxiliary input, footswitch, and even a USB audio interface for direct recording. A handy power attenuator and onboard tuner caps off the exhaustive list of features for this amp, making it a true plugand-play experience. The attenuator itself is an interesting design – it’s not a standard toggle switch, but rather a potentiometer that allows you to go from a mere one watt all the way to 50. This  exible feature allows the Cambridge 50 to double as a practice amp for the quieter hours of the day.

The preset amp models span decades of guitar amp history. The Cambridge 50 offers tones referencing glassy Fender and Dumble cleans, to electrifying higher-gain Marshall and Soldano ampli ers of years gone by. While the manual doesn’t directly name which amp each program is modelling, the subtle hints left behind are more than enough to identify them. The clean tones offered by the Blackface and Dumble amp presets are astonishingly  uid and lush. There’s plenty of depth and warmth to be found within the two, and sound especially potent when paired with the onboard tremolo and reverb. Cross over to the Plexis and the snakeskin covered Soldano, and you’ve got an overwhelming amount of distortion on tap. Push the gain control past noon, and you’ve got an incredibly satisfying rock and roll chug at your disposal. Crank it past three o’ clock and add a phaser in, and now you’ve reached the era of ‘80s heavy metal. If there’s one thing you should take away from this review, it’s that this amp sounds massive for its size.

Special mention has to be made for the Cambridge 50’s pair of AC30 presets. While these are the only two unadulterated Vox amp models, they’ve absolutely nailed it in terms of tonality. Even through all its different iterations throughout Vox’s history, the venerable AC30 is most well known for its jangly, inimitable top end, further supplemented by a secondary top boost channel. I’m very pleased to report that the Cambridge 50, even with its lack of traditional preamp and power tubes, has nailed the sonic brief here. All in all, the Cambridge 50 is another excellent showing from the British company.

Its generous variety of gorgeous-sounding presets, range of modulation and time-based effects, and veritable arsenal of additional features can effectively cover every need of the modern guitarist. BY EDDY LIM

HITS: ∙ Excellent sounding amp models Crazy number of features Extremely portable

MISSES: ∙ It’d be nice to have a choice of colour!

STRATOCASTER

Learn more at FENDER.COM

G5222 Electromatic Double Jet GRETSCH GUITARS AUSTRALIA | GRETSCH.COM.AU | RRP: $1,149

Just a few weeks ago, Gretsch unveiled a huge range of new products at NAMM, and are including additions to every range, including this double-cut Jet, the G5222. Gretsch Jets are synonymous with a bunch of players, including George Harrison and Malcolm Young, who is maybe the most famous double-cut Gretsch player in history. The G5222 is classic Gretsch, with a chambered mahogany body and maple top that provide traditional rock tones with that great Gretsch midrange that somehow ampli es everything. Iconic Broad’Tron pickups, simple pickup switching layout and a stylish hard-tail make for a comfortable play and great looker in a few different colours. While admittedly a more affordable Gretsch, the G5222s aren’t a sacri ce in playability, sound or specs, offering a comfortable play, versatile sound and classic look. These guitars would sit nicely in a myriad of bands and groups, offering super crisp cleans to harsh grit and wompy-jazz tones. Many guitars claim to be all-rounders, but it’s not often that you  nd something like the G5222.

Head to toe, the Electromatic G5222 is fairly standard Grestch, with specs to match even their more high-end guitars. The Electromatics sit in the middle of the Gretsch range, above the Streamliners but below the Pro Series, so these may very well be the best bang for buck you’ll get. The G5222 has a 24.6” scale length, similar to a Les Paul style guitar, and features a 12” neck radius and thin “U” shaped neck for fairly modern feel and playability. The net is set and bound, and the laurel fretboard features 22 medium jumbo frets which sparkle against the arched maple top that covers the mahogany body. Dual blacktop Broad’Trons offer that ‘great Gretsch sound’, and provide a great base for a variety of playing styles and tones. From super bassy, jazzy cleans to bright, gritty rock tones, they can do it all. Aesthetically, they’re styled like the more famous TV Jones and Filter’trons, and yes, a set of either will slot right in if you choose to upgrade. A ‘V’ stoptail and anchored Adjusto-Matic bridge keep all your tuning stable. Overall, these guitars play great. Compared to their single-cut counterparts, the double-cut allows better access to the 15th fret and beyond, whereas notes up that high can be dif cult on a single-cut style guitar. The tuning remains very stable, and the chambered body provides a bright resonance that you simply can’t get with a solid body guitar or even a full-hollow body. The weight relief makes these great live guitars, as they’re comfortable to sling over a shoulder. The blacktop Broad’Trons seem more versatile than TV Jones and Filter’tron pickups that, while sounding phenomenal, do have a more iconic sound. The Broad’Trons are tuned for the modern

player, and while that classic country twang is accessible, they can respond with a more contemporary voice, as well as anything in between. The G5222s are wired with Fender’s treble-bleed circuitry straight from the factory, allowing high-end to bleed through as you roll your master volume down, whereas with more conventional wiring you would lose high end as you lose volume. The guitars also feature independent volume controls for each humbucker and a master tone, so you can create a blend of both Broad’Trons and control the overall output with your master volume. As standard, there’s a three way pickup selector. Gretsch have nailed the G5222 Electromatic: it’s a more affordable version of their higher-end double cut Jets, without losing too much in terms of specs. Dual Broad’Trons offer a huge range of tones and allow the player to seamlessly slip between jazz, country, rock and pop with ease. Crafty

FENDER

American Original '70s Telecaster Custom FENDER MUSIC AUSTRALIA | FENDER.COM.AU | RRP: $3599.00

The Fender Telecaster is, without doubt, one of the most widely used guitars of the last half-century. It has undergone many incarnations over these years — none as creatively retrograde as this one, however. The Original ‘70s Telecaster Custom harks back to the custom model released in that said decade when renowned humbucking pickup designer Seth Lover engineered a distinctive, wideranging humbucker for the Fender Custom. The magnets that Lover had used in his humbucking pickups were manufactured with copper, iron, and nickel (known as CuNiFe). The combination of these elements made for a warm, full sound that was simply not obtainable on any other electric guitar at the time. The Custom was discontinued in 1979, as were the authentic CuNiFe-magnet pickups that came with it. Fortunately, Fender were recently able to locate a forge that was willing to reproduce the CuNiFe hybrid once more, for the purposes of this Telecaster Custom reissue. The ‘70s Custom’s revived CuNiFe humbucker is accompanied by a Tim Shaw-designed ‘70s single-coil bridge pickup — this makes for a rich variety of tones, ranging from crunchy and present, to more mellow and subdued.

Specs-wise, the ‘70s Telecaster Custom boasts an alder body, a mid-sized ‘60s C-shaped maple neck, six Fender Vintage F-stamped tuners, a ‘70s style three bolt neck plate, a three position pickup selection toggle, as well as volume and tone controls for each pickup. Just by looking at it, you can recognise the amount of time and effort that has gone into cultivating this delightful vintage reissue. In your hands, the Telecaster Custom is absolute bliss to play. I personally prefer to play my instruments sitting down, whether it’s bass or guitar, and I found the ‘70s Telecaster Custom ideal for this. While I’ve never really been a huge fan of glossy guitar/bass necks, this doesn’t detract from the playability of this guitar in the slightest. Playing this Telecaster Custom for the  rst time reminded of the time I walked into a Steinway & Sons shop and asked to play the most expensive grand piano there. The action, the even tone, the impeccable design of the instrument: everything was  awless; everything felt easy. I got that same feeling with the Telecaster. The action is beautifully set, and the string tension is ideal for both plectrum players and  ngerpickers. All of this, and I hadn’t even plugged it in yet.

I decided to run this guitar through through a range of ampli ers on Logic Pro X to see what it had on offer. I racked my brains to think about some of my favourite Telecaster players, and Graham Coxon from Blur immediately sprang to mind. By playing along with some of those ingeniously intricate lines from Modern Life is Rubbish, I appreciated the multifaceted role the Fender Telecaster played in sonically molding that album. I found that switching to the single-coil bridge pickup (with a bit of edge off the tone control) helped me to highlight some of those weaving countermelodies on songs such as ‘Chemical World’. Conversely, the humbucker was perfect for some of the fuller, more rhythmic layers. For something more bluesy, I intrepidly attempted some Cream-era Clapton. I set the pickup toggle in the middle - so as to get the best of both pickups - plugged it through a crunchy amp with some wah, and ended up with some utterly outrageous tones. While Eric may not have used a Telecaster on those Cream records, the Original ‘70s Custom does an outstanding job at replicating those dulcet tones of his. I found that phrasing my solo lines was near effortless, due to the sheer resonance and sustain that this guitar has to offer.

Fender have clearly been tenacious in their approach to crafting this superb ‘70s Custom reissue. It is a tonal chameleon, and excels at providing a wide range of sonic landscapes that other guitars just can’t. At this stage, it’s probably not within everyone’s price range. But if you are looking to spend big on a nice long-term musical investment, look no further than this all encompassing, versatile gem of an instrument.

BY DAVID TOMISICH

wiring preserves your sound even at low volumes thanks to the treble-bleed circuitry, and the lightweight body makes for a very comfortable play whether sitting or standing. The G5222 is now available in a few different colours, so you can ful ll your country chicken-pickin’ dreams at a much more affordable price.

BY LEWIS NOKE-EDWARDS

HITS: ∙ Very versatile Broad’tron pickups ∙ Double-cut allows for easier access to higher frets ∙ Chambered body provides iconic tone

MISSES: ∙ N/A

HITS: ∙ Wonderfully crafted guitar that is comfortable to play for hours ∙ Can acquire virtually any type of tone, whether it be for lead or rhythm parts ∙ Humbucking pickup is the star of the show ∙ Stays in tune remarkably well

MISSES: ∙ None whatsoever

Player Mustang PJ Bass FENDER MUSIC AUSTRALIA | FENDER.COM.AU | RRP: $1,299

Fender had no reason to make the Player Mustang Bass PJ. They’ve been the denitive name in electric bass since its introduction and now, combining their PJ pickups with the player friendly Mustang form factor it seems they have created an instrument that, to at least some extent, could render their classic basses obsolete.

The Mustang bass was rst introduced in 1964 as a student model to join their Fender Precision and Jazz basses (denoted as ‘P’ basses and ‘J’ basses respectively among musicians). Never reaching the immense popularity of it’s older siblings it did, however, draw a niche following thanks to it’s percussive sound and easy playability, both thanks to it’s short scale (30 inch) neck. After rst being reissued in 2002 after a 20 year absence it has gone through a minor renaissance as an appealing alternative to bassists looking for something different to the ubiquitous P and J, or just needing an instrument that doesn’t call for hands the size of dinner plates. This all brings us to the Player Mustang Bass PJ. In terms of changes, most notably gone is the svelte split single coil exclusive to the original Mustang Bass. In its place we are greeted with the Tonka truck aesthetics of the P bass split coil and Jazz Bass single coil, in middle and bridge positions respectively, slammed in to the guitar sized body. Aside from the pickups, the Pau Ferro fretboard departs from the classic Mustang Bass formula. Although lighter in appearance and with more guring than the classic rosewood, it is a close sonic match. Feel is drier than the familiar oily texture of the rosewood but combined with the satin nish neck this certainly gives then sense of a faster playing bass than the original. Gone as well is the large string-through bridge of the original with a modern top mount in its place. Purists will lament the perceived loss of sustain and it’s hard to argue that this choice by Fender is anything other than a nancial one but considering the price and overall quality of the instrument it’s only a minor detail.

In terms of quality, this Mexican made addition to the Mustang Bass line up is a denite jump from its Squire stable mates. Build quality is solid, as expected of all contemporary Fenders, but maybe most notable is the quality of hardware for an instrument of this price range. Tuning stability is exceptional and volume and tone controls a perfectly linear throughout their rotation. This is matched with above par tonal exibility thanks to the two pickups, although individual volume pots as found on the J bass would be a welcome addition. As far as playability goes, the Mustang is, as ever, a joy. The overall smaller size gives a denite sense of fun to the instrument although, like all Mustang Basses, it lends its self to a neck heavy balance. The short scale also brings with it a decreased string tension, requiring less fret pressure even with the good-not-great factory setup. This is where the Mustang PJ’s true character comes through as the perfect instrument for the low frequency curious. In fact, it’s hard to think of a better choice for someone who plays bass as their second instrument or a bassist wants to move on from a beginner’s instrument to something that will serve them well across a variety of genres. You really can ballpark, if not nail, the majority of tones required and, especially for guitarist, the short scale makes for a less punishing learning curve.

Get it in cheetoh-dust orange or gold to prove to your detractors the you can be practical without being boring.

BY TRISTAN PRICE

HITS: ∙ Swiss army knife exibility ∙ Short scale playability

MISSES: ∙ Neck dive will call for a wider strap ∙ Blend between pickups would be nice

MARKBASS

New York 122 Ninja CMC MUSIC | CMCMUSIC.COM.AU | EXPECT TO PAY: $1750

This Richard Bona signature model bass cabinet was released back in November 2015, and has been a popular xture on the live circuit worldwide ever since. It features 2x12” custom loudspeakers, alongside a custom tweeter driver. It is an 800W piece running at 8 Ohm, weighs in at 18.5kg, and measures 72 x 38.5 x 36.5cm. Depending on your age and stature, you probably won’t need a trolley to cart this cab around, but compared to other Markbass cabs, it’s not exactly easy on the back muscles. Aesthetically, the New York 122 Ninja is a well-designed bass cabinet, with the familiar felt exterior and a metal grill to protect the speakers. The ports are located on the back, so your cords and cables won’t be in the way when you’re on stage.

I paired it with my trusty Nano Mark 300 amplier, and was in awe of the brute power of this thing. Even with the Master at 12 o’clock and Gain at 9 o’clock, I’m fairly sure most of my street would have been privy to some of my bass grooves over the ensuing couple of hours. I jammed for a bit using my Ernie Ball MusicMan Stingray, and felt that this cab really captured the tonal denition of the instrument in its entirety. The ngerstyle grooves were boomy without sounding mufed in the slightest, and the trademark percussiveness of the Stingray really shone. Meanwhile, the picked bass parts I played cut through like a hot knife through butter. I wanted to test the Ninja 122’s high frequency capabilities, so I hooked up my Boss Chorus pedal and dished out some New Order-era Peter Hook for my lovely neighbours. The cab captured the swirling frequencies that makes the Boss Chorus as renowned as it is, and I denitely began to appreciate the role of the tweeter driver in facilitating this. The highs are crisp, but not harsh or brittle in any way. Soon thereafter, a bass student of mine came around for his lesson and gave me a perplexed look as he spotted the New York Ninja 122 right beside my very own Markbass Traveller 2x10 cab. I explained that I was tasked with reviewing this beast, and asked if he wanted to play his new American Fender P-Bass through it. We put a mute under the strings and worked on some Jamerson lines. I encouraged him to crank the gain up to 12 o’clock, and he gladly obliged. As I made my way to the other end of my house, the unmistakably sumptuous “Ain’t No Mountain High Enough” bassline warmed every square inch of my home, and it was superb. The tone, despite being dampened as per tradition, carried so evenly around the house. Being a good 15 metres or so away from the cab only allowed me to better ascertain its capacity for sustain,

and get at least some idea of what it would sound like in a live setting. There’s no doubt that the Markbass 122 Ninja is very reasonably priced for a cabinet of that power and size. The thing is, it is an incredibly loud piece of equipment, and unless you’re a semi-professional bassist consistently gigging in large — and I mean properly large — venues, then I would probably suggest starting with the similarlypriced Markbass Traveller 2x10, which is 4 Ohm but has more than enough grunt for a cab of its relatively diminutive stature and is perfect for smaller venues. But if you are looking for something with guts that will consistently do justice to every bass guitar you ever put through it, look no further than the Markbass New York 122 Ninja.

BY DAVID TOMISICH HITS: ∙ 8 Ohms means plenty of booming frequencies ∙ Treble comes through really nicely thanks to the tweeter driver ∙ Terric for (semi)-professional musicians playing large events, i.e. weddings, corporate functions etc.

MISSES: ∙ A little bulkier than some Markbass cabs ∙ Not necessary for smaller venues

Phone-Box PRO MUSIC AUSTRALIA | PROMUSICAUSTRALIA.COM.AU | EXPECT TO PAY: $229

The Ashdown Phone-Box is a working bass player’s product. Designed to sit between your head and cab, it can turn an amateur rig into a professional one with style and ease. The Phone Box is a personal “monitoring exchange system” that allows for extra routing without multiple units and cables. At its core, the Phone-Box splits your signal before the speaker cabinet and offers the player a balanced D.I., line out and two headphone outputs (both ¼” and 3.5mm) on top of their normal tone from their cabinet. The signal is intercepted by speakON inputs, and the robust, solid chassis of the Phone-Box will be equally prepared for touring and constant studio use. The headphone out can also be used for more accurate practice and rehearsal, offering the player a direct feed of their playing in conjunction with their speaker sound.

The Phone-Box offers a great solution to bands wanting maximum control of their rigs. A standard head and cab can be used, while a line out can be sent to a mixer that is feeding a wireless in-ear-monitoring system, or IEM. This offers a bass player complete control of their IEM system, which is often controlled by either a venue’s sound engineer, or forking out for a more expensive monitoring system. In the studio, this unit offers an easy way to split out a bass signal and record a speaker cabinet, effected line out, as well as balanced D.I. (albeit post-amplier) from the single unit. While a D.I. is most commonly used before pedals and the amplier, this simply offers even more solutions for ready-to-mix bass sounds. Use both the D.I. and Line Out, and you’ve got plenty of options for a mix of any genre, to either blend together and commit, or to pick-and-choose the ideal tone for any section of a song or record.

At a glance, the Phone-Box features two speakON inputs, a balanced D.I. via an XLR, a 1/4” line out and both 3.5mm and 1/4” headphone outs. The Line Out can be used to record direct to an audio interface, as can the balanced XLR D.I. The speakONs offer no attenuation, and are simply a way to split up your signal for either wet effects or monitoring. Unfortunately the unit doesn’t feature any volume controls, so your headphone outs are at the mercy of the volume of your amp, or vice versa. Obviously this would make the unit much more complicated and costly, but an external mixer or similar would be required to lower the gain on your amp, monitoring or D.I. The metal chassis protects the circuitry inside, and all the ins and outs would be safe from the rigours of the stage or studio, be it coffee, beer, sweat, condensation, vibrations and stage-moves gone-awry. The Ashdown Phone-Box is a tidy and compact solution to a bunch of routing

M A R K B A S S

Compressore Pedal

CMC MUSIC | CMCMUSIC.COM.AU | EXPECT TO PAY: $495

The Markbass Compressore is a state of the art bass compression pedal that allows you to control your gain, threshold, ratio, attack and release. It features true bypass to keep your signal nice and tight, as well as six standard compression control dials, an input jack, output jack, and a DC 12V power jack. It also comes with power adapters for every corner of the globe, so if you happen to make it big as a touring bassist, buying an adapter for your compressor is one less thing you’ll have to worry about. It’s a bit larger and slightly more cumbersome than other compression pedals on the market – probably due to the valve that lives inside its chassis - but still trim enough to t inside your gig bag.

For those who need some compression refreshin’, I’ll dive into that rst before going into some of the Compressore’s features. If you’re already familiar with the ins and outs, by all means skip to the next section. Basically, you have your Threshold: that is, how loud the signal has to be before compression is applied. Next there’s the Ratio: how much compression is applied to your signal. If the ratio is set for 4:1, the input signal will have to cross the threshold by 4dB for the output to increase by 1dB. The overall effect here is that the signal is reduced by 3dB. The Threshold and Ratio are the two most important components of audio compression; reducing the threshold signies that compression will be applied to more and more of your tone. Increasing the ratio means more compression to your signal. The make up gain simply helps you to recover any volume lost here. Admittedly, all of this is a lot easier to gure out once you’ve actually got the pedal in front of you.

One of the great things about the Compressore is that it really allowed me to get the most out of whichever bass I used with it. I started by running my 1985 Yamaha Precision Bass through it, then into my Nano Mark 300 Amplier, which is twinned with my Markbass 2x10 cab (being half Sicilian, I try to be loyal!) If you’re predominantly a pick P-basser like me, the Compressore is awesome for getting maximum punch throughout your bass grooves. In this case, you want to set your Threshold dial at around 12 o’clock, and your Ratio at 2 o’clock. Leave the Gain, Volume and Attack dials all in the middle at 12 o’clock, while the Release is wound down completely. The resulting sound is so much more rhythmic and, when cranked up, exceptionally punchy. This compression setting is especially favourable if you’re delving into bass lines crafted by the likes of John Paul Jones of Led Zeppelin, and Andy Rourke of The Smiths, for example. Another strong point of the Markbass Compressore is its ability to not only smoothen your bass tone dynamically, but also drastically reduce the annoying that often requires multiple units. While the Phone-Box admittedly isn’t reinventing the wheel, it’s placing a bunch of commonly used routing into one, well-made unit. The ins and outs are clearly labelled and well laid out, ensuring it stays out of the way and serves its purpose: opening doors to new tones. The Phone-Box can be used to pave the way to clear and concise IEM monitoring for bands, without the hassle and expense of massive rigs for this purpose. Bands can also retain more control of their mix, intercepting the signal before it hits front-of-house. The unit, as is everything from Ashdown, is well made, designed for a specic purpose and really nails the task at hand. So well, in fact, that I’ll take two please!

BY LEWIS NOKE-EDWARDS

HITS: ∙ Well-built; robust ∙ Inconspicuous size ∙ Well-laid out nicely organised face-plate

MISSES: ∙ All outputs controlled by amplier in level; no internal gain control

overtones that can sometimes seep through when playing loud. This was evident with my Yamaha Precision, but even more so when I plugged in my Fender Aerodyne Jazz. Typically, Jazz basses tend to be brighter than their Precision counterparts in the treble department; this is where compression becomes extremely useful. If you’re a slap player, then dial your Threshold to around 9 o’clock and your Ratio to 11 o’clock. You’ll hear just how well the Compressore takes the edge off of those popped notes, while making sure the slapped notes down-low come through just the same. The Markbass Compressore is a wonderfully crafted piece of machinery. With a bit of know-how, you’ll realise the potential it has to take your bass playing to the next level sound-wise.

HITS: ∙ True bypass; ideal for gigging musicians who want to switch between utilising/bypassing the compressor ∙ Ratio is gradated, and not xed i.e. 6:1, 20:1, etc. ∙ Is ideal for many types of bassists and basses

MISSES: ∙ It’s a bit big