Mixdown Magazine #250 | February 2015

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

250

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PLUS: MILLENCOLIN, PERIPHERY, CLOWNS, PUBLIC SERVICE BROADCASTING, KIT T Y, DAISY & LEWIS ROAD TESTS: Proel WD10A Active Stage Monitors, 2015 Zildjian Cymbal Range, Samson Meteorite USB Microphone, 2015 Gibson Les Paul Deluxe Ome Wizard Open Back Banjo, Tokai Traditional Series Junior SG Electric Guitar, Alto Professional TX Series Powered Speakers, Yamaha P-Series Digital Pianos AC30, CLASSIC ROCK, METAL AND BASS MODELS FULLY ANALOGUE CIRCUIT FOLDING PLUG MECHANISM TO FIT ANY GUITAR

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FIND A DEALER au.yamaha.com

EVENTS AND PROMOTIONS yamahabackstage.com.au

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CONTENTS GIVEAWAY

6

NEWS & TOURS

8

THE INDUSTRIALIST

12

PRODUCT NEWS

14

KING PARROT

24

FALLING IN REVERSE

26

FORE WORD Welcome to the new Mixdown Magazine! Yes, we’ve moved on up, in the quality of our production and come right down in size for all your portability needs. Pick us up, take us home, show your mates, display us on your counter tops or coffee tables and store us on your shelves. It’s our 250th Anniversary issue, our 21st birthday in music publishing, and if you’re a stockist, supporting advertiser, contributor or loyal reader, you’re a bloody legend and we have the history of this magazine - Australia’s only dedicated national music street press - owing to your commitment, enthusiasm and support.

Cheers!

ENTER SHIKARI CARIBOU

28

MILLENCOLIN PERIPHERY

29

CLOWNS PUBLIC SERVICE BROADCASTING

It is with great satisfaction that local heavy hitters King Parrot slay our cover this issue in support of their upcoming Soundwave Festival dates. We catch up with electronic extraordinaire Caribou as he talks us through his evolution of sound, before slamming stages across the country for Laneway. Enter Shikari join us in support of their new record The Mindsweep and national tour alongside a stack of international and local artists worth every drop of ink (and more) on our pages yonder.

Zach Wylde at NAMM Photo Credit: Peter Hodgson

30

KITTY, DAISY & LEWIS THE 2015 NAMM SHOW

32

UNLEASH YOUR INNER ROCK GOD

34

THE 2015 NAMM SHOW PAGE 32

You’ll also notice our new column Gear Goss that will highlight all the news we hear across the country with regards to new music product and industry scoops. We release our annual NAMM 2015 report, senior staff writer Peter Hodgson got the latest look, run down and insight into all the new equipment we’ll soon see hitting our stores. Plus more product news, industry news, reviews and how to columns to last you the month!

WHAT’S THAT SOUND KEYS ON THE DOWNLOW

36

BANGIN THE TUBS (D)IGITAL (J)OCKEY

38

HOME STUDIO HINTS WHAT’S MY RANGE AGAIN?

39

GET SOCIAL:

P.S. Did we mention we’re launching a brand new mobile optimised website? We’ll be announcing that this month too. Epic!

FOR BREAKING NEWS, NEW CONTENT AND MORE GIVEAWAYS VISIT

TAFE QLD EAST COAST Q&A ROAD TESTS

PERIPHERY PAGE 29

PUBLIC SERVICE BROADCASTING PAGE 30

40

WWW.MIXDOWNMAG.COM.AU

ALEKSEI PLINTE EDITOR IN CHIEF

FACEBOOK.COM/MIXDOWNMAGAZINE M A D E

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EDITOR IN CHIEF Aleksei Plinte mixdown@beat.com.au

CONTRIBUTORS Adrian Violi, Rob Gee, Peter Hodgson, Christie Elizer, Augustus Welby, Michael Edney, Lachlan Kanoniuk, Nick Brown, Meg Crawford, Gary Westmore.

FALL OUT

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INTERVIEW ED: FUCK BUT TONS ANB NSEND PROERLIN SNAKAD JECT AKT THE BAS AL ICS

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PUBLISHER Furst Media

ALTER AVID DUET EGO V2 EFFECTS PEDAL DV MARK JAZZRECORDING INTERF ACE 12 GUITAR FISHMAN FLUENC AMPLIFIER NOCS NS900 E PICKUPS CUSACK TAP-AHEADPH STRAUSS SUPERB DELAY EFFECT ONES SHURE QLXD/BLUES SSB-30 GUITAR S PEDAL AMPLIFIER ETA 58 WIRELE MATON 808 SS MIC SYSTEM ACOUSTIC GUITAR PREMIER GENIST PRESONUS A BIRCH DRUM KIT E5 STUDIO MONITORS VOX AMPLU GS

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For more information on Mixdown Magazine contact: Aleksei on (03) 9428 3600 or email mixdown@beat.com.au

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COVER PHOTO Richard Sharman, Black Shadow Photography www.blackshadow.com.au Richard@blackshadow.com.au

DUNERATS

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YOUR R *The prices FAVOU set out in for Vox dealers this RITE SONG to comply advertisement are with this recommend S recommend ed ation. Errors retail prices (RRP) and omissions only and there is excepted. no obligation

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

Phone: (03) 9428 3600

ADVERTISING Aleksei Plinte E: mixdown@beat.com.au Phone: (03) 8414 9704

GRAPHIC ARTISTS Michael Cusack, Ruby Furst

PG.4 // MIXDOWN #250 // FEBRUARY 2015

www.mixdownmag.com.au

Giveaways Sony DWZ Digital Wireless Pack This month with thanks to Sony Australia and FATS Digital we’re stoked to be able to give you the opportunity to win this awesome Sony DWZ Digital Wireless package! Featuring both the DWZ-M50 wireless microphone system and the DWZ B30GB wireless guitar/bass set, this giveaway is one of our biggest in a long time! Both products deliver outstanding audio quality with enough versatility to meet any practical application. Feel like going wireless? You could have all this for free simply by following the steps below.

HOW TO ENTER:

ZOOM H5 Handy Recorder

Giveaway Winner

STEP 1. Like our Mixdown Magazine Facebook page www. facebook.com/mixdownmagazine and like and share our Sony DWZ Digital Wireless giveaway post.

How many simultaneous channels does the DWZ M50 Microphone System feature? a) 1 b) 2 c) 6 d) About a million.

STEP 2. E-mail your full name and postal address to mixdownstaff@beat.com.au and answer the following question.

(Hint – you can find the answer to this question in our Product News section or by visiting www.pro.sony.com.au)

PG.6 // MIXDOWN #250 // FEBRUARY 2015

*This giveaway is for Australian residents only and one entry per person.

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

Last months giveaway was one of our most popular yet, and given the quality of the product it’s easy to see why.

A massive thanks to everyone who entered and to Australian ZOOM distributor and good friend Dynamic Music for supplying the goods. We wish we could gift all of you a ZOOM H5, but we can’t. So as the lions share of you grumble as you read someone else’s name below, one of you will be able to record all the dissatisfaction with the Zoom H5 Handy Recorder.

This month the lucky winner is NINA BUCHANAN of Sydney, NSW. With interchangeable microphone capsules and powered by only two AA batteries, the H5 handy recorder offers up to 15 hours of top quality audio recording in a diverse range of practical applications.

We hope you have a ripper time playing with it. To all those who didn’t win, good luck next month and keep entering!

www.mixdownmag.com.au

NEWS & TOURS Against Me!

Architects

Camp Casual

Client Liaison

Against Me! have announced dates for their upcoming Australian tour, marking their first visit since playing Big Day Out back in 2013.

Fronted by Laura Jane Grace, Against Me!’s latest offering, Transgender Dysphoria Blues, was released earlier this month. The title of their sixth album offers a direct nod to news that shocked fans and shook up the rock world when it was dropped—Grace is a transitioning transgender person. The record is neither a radical stylistic departure nor a concept album; rather just another bold step forward for a band doing what they have always done. Touring with Against Me! will be California’s Joyce Manor, this being their second tour of Australia and the first since the release of Never Hungover Again.

Metalcore juggernaut Architects will return to Australia in April 2015 for their first national headline tour in five years.

This time around they’ll be joined by Stick To Your Guns, Being As An Ocean and Stories.

Since releasing their own documentary One Hundred Days: The Story Of Architects Almost World Tour and their 6th studio album Lost Forever // Lost Together the band has been touring relentlessly, ready to bring their heavy riffs and hardcore punk influenced breakdowns back to Oz.

Brand new Gippsland (VIC) festival Camp Casual have announced the full lineup for their first ever event. Over two days and three stages Camp Casual will offer a relaxed timetable and a party vibe. You can laze, explore, swim, play or simply bask in the dreamlike surroundings. The final lineup announce­ment includes Cana­ dian garage punk band The Courtneys as well as Olympia, Pikelet, Jon Lemon, Carb on Carb, Park­ing Lot Exper­i­ments, Pearls and Dugong Jr. They’ll join The Ocean Party, ScotDrakula, Geoffrey O’Connor, Empat Lima, Mangelwurzel, Strict Face, Duck Duck Chop, Mesa Cosa, Tomb Boss, B.O.O.M.A, Bis­cotti, The Sugar Fed Leop­ ards, Felix Lloyd, The Burnt Sausages, Red Spencer and Tourist Dollars.

Client Liaison, alongside their associates at MTV Dance, Spotify, The Thousands, Select Music & Remote Control Records, have announced the Pretty Lovers Tour set to kick off this March.

This will be the final Client Liaison run of tour dates in support of their debut self-titled EP which was released via Dot Dash / Remote Control in `September 2014. Alongside the tour announcement, Client Liaison have also shared the video ‘Pretty Lovers’. Setting high standards with their music video for track ‘Feed The Rhythm,’ the boys have delivered with another cracking 80’s inspired clip.

TOUR DATES

TOUR DATES

TOUR DATES

May 29 - Hi Fi, Brisbane QLD May 30 - Metro, Sydney NSW May 31 - Cambridge Hotel, Newcastle NSW June 1 - UOW UniBar, Wollongong NSW June 3 - Basement, Canberra ACT June 4 - Rosemount, Perth WA June 5 - Uni Bar, Adelaide SA June 6 - Corner Hotel, Melbourne VIC

April 9 - Capitol, Perth WA April 10 - HQ, Adelaide SA April 11 - Arrows, Melbourne VIC April 12 - 170 Russell, Melbourne VIC April 15 - ANU Bar, Canberra ACT April 16 - Roundhouse, Sydney NSW April 17 - Cambridge Hotel, Newcastle NSW April 18 - The HIFI, Brisbane QLD

February 28 - Secret Garden Festival, Sydney NSW March 5 - Black Bear Lodge, Brisbane QLD March 6 - Secret Venue TBA, Perth WA March 7 - Pirie & Co. Social Club, Adelaide SA March 14 - Oxford Art Factory, Sydney NSW March 20 - 170 Russell, Melbourne VIC

Scotdrakula

Melbourne lo-fi garage outfit ScotDrakula are preparing to head out on tour in support of their 2014 self titled debut album. It’s been a long time coming for the group who have been winning over audiences in Melbourne throughout the past few years opening for notable international acts such as Mac Demarco and more recently The Coathangers.

They’ll be joined by fellow Melbournians Mighty Boys for shows in Wollongong and Sydney as a part of the gr8 m8s tour.

David Liebe Hart

David Liebe Hart has just announced a string of tour dates in 2015 to cel­e­brate the release of his forth­com­ ing album Astro­naut. Famous for his appear­ances on Tim & Eric’s Awe­some Show, Great Job! as well as Check It Out with Dr. Steve Brule, David is an out­sider musi­cian, actor, painter and ven­tril­o­quist.

He has a large col­lec­tion of pup­pets, he loves trains and he reg­u­larly speaks of his attrac­tion to spe­cific species of Extra-Terrestrials. In March he’ll be back down under to per­form his mate­r­ial along with his pup­pets, video accom­pa­ni­ment and back­ing musi­cian Jonah Mociun. It’s pretty dif­fi­cult to prop­erly explain the essence of Liebe Hart’s com­edy mate­r­ial.

TOUR DATES February 5 – Trainspotters, Brisbane QLD February 6 – Elsewhere, The Gold Coast QLD February 12 – Goodgod Small Club,

Sydney NSW February 13 – Rad, Wollongong NSW February 22 – The Curtin, Melbourne VIC March 1 – Camp Casual, Gippsland VIC March 3 – A Festival Called Panama TAS

TOUR DATES March 19 - The Bright­side, Bris­bane QLD March 21 - Hermann’s Bar, Syd­ney NSW March 22 - The Eve­lyn Hotel, Mel­bourne VIC March 27 - Mojo’s Bar, Free­man­tle WA March 25 - Crown & Anchor Hotel, Ade­laide SA

PG.8 // MIXDOWN #250 // FEBRUARY 2015

Camp Casual is tak­ing place from Fri­day Feb­ru­ary 27 until Sun­day March 1.

For more infor­ma­tion visit www.campcasual.com.au

Dz Deathrays

Eagulls

DZ Deathrays have capped off a massive year by taking home their second ARIA Award for Best Heavy/Hard Rock Release, but they aren’t done yet. The Brisbane garage duo have announced a massive national tour to kick off 2015 with a band. They spent the better part of 2014 ferociously touring their second album Black Rat across the UK, Europe, The USA and New Zealand including spots at SXSW, Leeds and Reading Festivals.

The tour kicks off on February 27, and they’ll be bringing along US garage wonder kids Bass Drum Of Death along for the ride, as well as local heroes Hockey Dad. They’ll also be stopping over at the Farmer & The Owl Festival as a part of this epic tour. Keep your ears to the ground.

Plenty of bands con­sider them­selves post-punk, but few can pull it off with the bleakness that Eagulls manage to bring with their music. The Leeds five-piece are heading to Australia in support of their debut self-titled LP. They’ll be performing as a part of St Jerome’s Laneway Festival, as well as two side shows in Melbourne and Sydney. Shades of Joy Division are ever present throughout the release, which paints a decidedly dark and cluttered picture in an era typified by minimalism and psychedelic revivalism. It’s well worth a look.

TOUR DATES February 27, 28 – Northcote Social Club, Melbourne VIC March 5 – Fowlers, Adelaide SA March 6 – Amplifier, Perth WA March 7 – Prince Of Wales, Bunbury WA March 8 – Newport Hotel, Fremantle WA March 11,12 – Newtown Social Club,

Sydney NSW March 13 – Brightside, Brisbane QLD March 14 – Farmer & The Owl Festival, Wollongong NSW

TOUR DATES January 28 — Howler, Melbourne VIC January 30 — Oxford Art Factory, Sydney NSW

www.mixdownmag.com.au

NEWS & TOURS Groovin’ The Moo

Lamb Of God

Luca Brasi

Marilyn Manson

Metal giants Lamb Of God have announced a couple of Sidewaves alongside heavy hitting supergroup Killer Be Killed. Lamb Of God are veterans, with a solid standing in the heavy music world and while Killer Be Killed is comprised of members of The Mars Volta, The Dillinger Escape Plan, Mastodon and Cavalera Conspiracy, as a band they’ll be making their live debut while they’re here. These sideshows are sure to entice plenty of punters with two of the festivals most talked about groups coming together.

Loveable Tasmanian punk rock ruffians Luca Brasi have unveiled a slew of national tour dates for March 2015 with the UK’s Gnarwolves and Perth’s Tired Lion. Luca Brasi’s outstanding sophomore album By A Thread was released this March via Poison City Records, and caught the attention of live music lovers and national radio alike. Hailing from the pebbly beaches of Brighton in the UK, skate punk trio Gnarwolves have been tearing up the underground across Europe, America and their native England off the back of a trio of acclaimed EPs. Perth’s Tired Lion round out the bill, the young WA quartet’s fuzzed out riffs and big hooks landing the indie rock quartet tours with British India as well as smashing the recent Big Sound conference in Brisbane.

Controversial rock legend Marilyn Manson has announced a couple of sideshows while he’s in Australia as a part of the Soundwave Festival. Punters in Brisbane and Sydney will both have an opportunity to see Manson perform alongside Finnish metal heroes Apocalyptica and Swedish industrial rock outfit Deathstars. Manson has enjoyed a lengthy career since his rise to prominence in the mid 90s with his bleak and shockingly grotesque imagery.

He’ll be heading down to Australia in support of his latest release The Pale Emperor. It promises to be a unique experience.

Hilltop Hoods

It’s time to plan those road trips and get your convoys organised, the Groovin’ The Moo 2015 line-up is here! And boy what a line-up they have put together! In alphabetical order: A$AP Ferg (USA), Ball Park Music, Broods (NZ), Carmada, Charli Xcx (UK), The Delta Riggs, Dma’s, Flight Facilities, Hermitude, Hilltop Hoods, Hot Dub Time Machine, Meg Mac, Northlane, One Day, Peace (UK), Peaches (CAN), The Preatures, Rl Grime (USA), San Cisco, Saskwatch, Sticky Fingers, Tkay Maidza, Wolfmother, You Me At Six (UK). Make sure you visit www.gtm.net.au to secure your tix.

TOUR DATES

TOUR DATES

April 25 – Oakbank Racecourse, Oakbank SA April 26 – Hay Park, Bunbury WA May 2 – Prince Of Wales Showground, Bendigo VIC May 3 – University of Canberra, Canberra ACT May 9 – Maitland Showground, Maitland NSW May 10 – Murray Sports Complex,

Townsville QLD

March 11- Small Ballroom, Newcastle NSW March 12 - Crowbar, Brisbane QLD March 13 - Newtown Social, Sydney NSW March 14 - Northcote Social Club, Melbourne VIC March 15 - Wrangler Studios, Melbourne VIC March 19 - The Brisbane Hotel, Hobart TAS March 20 - Cats at Rocket Bar, ADELAIDE SA March 21 - Amplifier, Perth WA March 22 - HQ, Perth (AA)

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TOUR DATES February 24 – 170 Russell, Melbourne VIC February 26 – The Metro, Sydney NSW

TICKETS & INFO AT BLUESFESTTOURING.COM.AU ALL ACTS ALSO APPEARING AT BLUESFEST

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PG.10 // MIXDOWN #250 // FEBRUARY 2015

February 25 – The Enmore, Sydney NSW February 27 – The Tivoli, Brisbane QLD

ALSO TOURING : ALABAMA SHAKES : ANGELIQUE KIDJO : DAVID GRAY CHARLES BRADLEY : DISPATCH : G. LOVE & SPECIAL SAUCE

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TOUR DATES

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SAN JOSE MERCURY NEWS

MEL MELBOURNE RECITAL CENTRE 31 MAR SYD THE FACTORY 6 APR

BRIS POWERHOUSE 2 APR NSW LIZOTTES NEWCASTLE 5 APR LIZOTTES CENTRAL COAST 6 APR LIZOTTES DEE WHY 8 APR SYD THE BASEMENT 9 APR ADEL THE GOV 10 APR MEL MELBOURNE RECITAL CENTRE 11 APR

NSW LIZOTTES DEE WHY 26 MAR CAMBRIDGE NEWCASTLE 27 MAR SYD THE FACTORY 28 MAR NSW BEACHCOMBER CENTRAL COAST 29 MAR HOEY MOEY COFFS HARBOUR 1 APR QLD SHARK BAR MIAMI TAVERN 2 APR WHARF TAVERN MOOLOOLABA 5 APR HARVEY ROAD TAVERN GLADSTONE 6 APR MANGUMS AIRLIE BEACH 8 APR JEZZINE BARRACKS TOWNSVILLE 9 APR MEL THE CORNER 10 APR VIC BARWON HEADS HOTEL 11 APR ADEL BLUES ON THE PARADE 12 APR TAS REPUBLIC BAR HOBART 15 APR BRIS THE TRIFFID 16 APR QLD TANKS CAIRNS 17 APR PER RED HILL AUDITORIUM 18 APR W/ MICHAEL FRANTI, BLUE KING BROWN www.mixdownmag.com.au

NEWS & TOURS

The Gooch Palms

Womadelaide

Slash

Xavier Rudd & The United Nations

There aren’t many shred­ders that are as rec­og­niz­able as Slash. He’s been churn­ing out some of the most iconic gui­tar riffs and solos in mod­ern rock for more than three decades.

Last year he released World On Fire, his third solo album and sec­ond record with vocal­ist Myles Kennedy and his back­ing band The Conspirators, which was well received by fans and crit­ics alike. Slash will be down here in Aus­tralia for the Sound­wave Fes­ti­val, and has just announced a cou­ple of side shows, giv­ing peo­ple who couldn’t make it to the fes­ti­val the oppor­tu­nity to see one of rock music’s most leg­endary fig­ures shred in the flesh. Join­ing Slash for these per­for­mances is Steel Pan­ther.

Not many artists can claim to have been joined on stage by mem­bers of Slip­knot, Rage Against The Machine, Green Day, Kiss, Aero­smith and Linkin Park, but Steel Pan­ther can. Their raw and ener­getic take on 80’s metal has seen them earn legions of fans at each of their per­for­mances across the world. This promises to be a unique and mem­o­rable per­for­mance from two of rock music’s heavyweights.

With his new band The United Nations, Xavier Rudd has announced details of his new album Nanna, which is set to be released this March via his own label Salt X Records. Xavier Rudd’s eighth studio album was mixed by living legend Errol Brown at the Tuff Gong Studios in Jamaica and follows the wildly successful Spirit Bird. Led by the huge single ‘Follow The Sun’, Spirit Bird reached Gold sales in Australia. Xavier Rudd and The United Nations will also be touring this March in support of the new album. Visiting Melbourne, Sydney, Brisbane and Adelaide as well as playing Bluesfest, the tour offers Xavier Rudd fans the chance to see Xavier Rudd & the United Nations as they make their debut tour around the country.

Youssou N’Dour

Novocastrian duo, The Gooch Palms recently announced the imminent release of a 7-inch via Detroit label Urinal Cake Records, plus their one and only Australian Tour for 2015.

Before the duo heads back to the USA for SXSW, they’ll be hitting up some of their favourite venues across Australia to relive their Australian Dream. The Gooch Palm’s upcoming 7-inch, released via Urinal Cake Records will feature a Leroy-side, of already released “Trackside Daze”, and a yet to be released Kat-side of “Sleep Disorder”.

Both tracks were recorded by the duo while on tour in San Francisco with Engineer/ Producer Bob Marshall at Bauer Mansion (home to other legends, Thee Oh Sees, Ty Segall, Mikal Cronin etc).

TOUR DATES February 5 - The Brisbane Hotel, Hobart TAS February 6 - The Tote, Melbourne VIC February 7 - The Phoenix, Canberra ACT February 8 - Rad, Wollongong NSW February 13 - Crowbar, Brisbane QLD February 14 - The Great Northern, Byron Bay NSW

February 20 - The Small Ballroom, Newcastle NSW February 21 - Newtown Social Club, Sydney NSW

WOMADelaide, Australia’s biggest festival of world music, is about to arrive again with an impressive line up of musicians, artists and thinkers from all across the globe. Over four days in Adelaide’s Botanic Park patrons will be able to enjoy music, art and food from a diverse range of cultures from all across the globe as well as participating in workshops and discussions with great thinkers from Australia and abroad. The festival, now in its twenty third year of operation, is unlike most others. An eclectic assortment of acts from around the globe encourages an equally diverse audience.

This year will feature performances from Youssou N’Dour, Willow Beats, Theo Parrish, Sinead O’Connor, Sharon Van Etten, Neneh Cherry, Bombino and Rufus Wainwright just to name a few.

WOM­ADe­laide will be held from 6 — 9 March 2015 in Adelaide’s Botanic Park. For tick­ets and event infor­ma­tion visit www.womadelaide.com.au

TOUR DATES Feb­ru­ary 24 - Hordern Pavil­lion, Syd­ney NSW Feb­ru­ary 26 - Fes­ti­val Hall, Mel­bourne VIC

TOUR DATES March 19 - The Forum, Melbourne VIC March 21 - The Metro, Sydney NSW March 22 - The Tivoli, Brisbane QLD March 27 - HQ Complex, Adelaide SA April 2 – 6 – Bluesfest, Byron Bay NSW

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MIXDOWN #250 // FEBRUARY 2015 // PG.11

INDUSTRIALIST Now Ato Slugs Artists Over Youtube

First the Australian Tax Office declared that Australian artists who make money from some types of crowd-funding would be liable for tax. Now it has decided that if you make money from YouTube (and other digital sources) then you are a “performing artist” and hence also up for tax from that income.

It ruled, “the income the taxpayer receives from Google for their YouTube videos is a reward for providing services relating to their activities as a special professional [...] Therefore, the income can form part of the taxpayer’s assessable professional income.”

It’s difficult to know what percentage of Australian artist sales come from YouTube. But you could get some idea from the views they get. For instance Gotye’s ‘Somebody That I Used To Know’ received 570 million views. 5 Seconds of Summer have had a total of 92 million views. Adelaide-born SIA’s ‘Chandelier’ had by last month notched up 468 million.

These examples are of course from hit records. Most Aussie musicians don’t get these sort of figures. Due to a new ruling in the European Union, they have to pay sales tax for sales to European Union consumers. Streaming isn’t exactly a money maker either. Google’s All Access Music pays $0.04573 per stream. Deezer coughs up $0.00754, Rdio $0.00692 and Spotify $0.00521.

Air Extends Rdio Partnership

The Australian Independent Record Labels Association (AIR) has extended its deal with Rdio as its official digital music streaming partner. The partnership also extends to the Carlton Dry Independent Music Awards.

Through the year, AIR and Rdio will collaborate on various initiatives to “promote and widen the reach of Australian independent artists.”

Rdio will also stream the Carlton Dry Independent Music Charts every week via www.rdio.com/people/ ausindies.

New Agency Launches On Nsw South Coast

Run & Rejoice is a new agency that launched on the NSW South Coast covering bookings and creative services. It books acts for venues such as Captains @ Mariners in Batemans Bay, offers web development for indie acts and music based businesses, and assists touring agencies in securing entertainment visas for international touring acts. It is run

by Skylar Kyu and Tom Roberts, more info at www.runandrejoice. com.au.

More Aussies Heading For Sxsw

14 more Aussie acts can showcase at South By Southwest. They are Peter Bibby, Kirin J Callinan, DCM, The Delta Riggs, DMA’s, Falls, Fraser A. Gorman, The Kite String Tangle, Jack Ladder & The Dreamlanders, Meg Mac, Tkay Maidza, Oscar Key Sung,

Remi and San Cisco. Previously announced were The Church, Angus & Julia Stone, Courtney Barnett, Mansionair, Hiatus Kaiyote, Gang Of Youths and Lenka.

Queensland Wants To Be The New Home Of Aussie Country Music

While the Tamworth Country Music Festival was in full swing to 50,000 yee-haw fans, up in Queensland they were continuing to push ways to make the state a major country music destination. Tourism and Events Queensland (TEQ) has tied up a deal with Foxtel to hold the Country Music Channel Music Awards for Brisbane. Late last year TEQ enticed the CMC Rocks festival to move from the Hunter Valley in NSW to Ipswich. The two events are bundled together, with the awards on March 12 and the festival between March 13 to 15 coheadlined by Lady Antebellum and Troy Cassar-Daley.

TEQ chief executive Leanne Coddington said the two events would “position Queensland as the new home of country music in Australia. It is estimated the events will generate more than 38,000 visitor nights and deliver significant economic outcomes for Queensland’s economy through to 2017.”

Life Is Noise To Open Melbourne Office

Perth-based touring company Life Is Noise is this year starting to focus more on the Sydney and Melbourne markets. It is about to open a second office in Melbourne, to be run by its new Operations Manager, Jack Midalia. He can be contacted on jack@lifeisnoise.com.

5Sos, Iggy, Makes Forbes List

Two Aussies made it into US business magazine Forbes’ annual 30 under 30 in Music for 2015. Iggy Azalea was at #4 after Florida Georgia Line who topped the list, Afrojack and Jhené Aiko. Five Seconds of Summer sat at #29.

Also on the list were Ed Sheeran, Hozier, Porter Robinson, A$AP Rocky, Sam Smith, Meghan Trainor, FKA Twigs and Charli XCX.

Hilltop Hoods Initiative Returns

Hilltop Hoods and APRA AMCOS bring back the Hilltop Hoods Initiative to give an emerging Australian hip hop/soul act who hasn’t released an album a chance to push their career forward. The $10,000 pack provides for the making and marketing of their debut album, legal advice from Media Arts Lawyers for general or specific career advice, a Zoo York Clothing prize pack and a Love Police ATM Merch Manufacturing Start-Up Kit (to the value of $500).

Entries close on Thursday March 3, with the winner announced on Tuesday March 31. Go to www. apraamcos.com.au for full details.

Previous recipients include Jimblah, Chelsea Jane, I AM D and RUNFORYOURLIFE.

PG.12 // MIXDOWN #250 // FEBRUARY 2015

Fo r cont ent s ubmissions to this col u mn p leas e e mail to c elizer@net spa ce .net.au

Venues Update

• After 13 years as a major Perth live music venue, The Bakery announced it is closing its doors on Saturday May 9. It is holding The Last Toast Bakery Farewell series, kicking off on Wednesday April 29 every night until the end.

• Sydney’s The Roxbury has changed hands. New owner Tim Condon is keeping the music alive upstairs while the ground floor will focus on craft beer and dining. After a revamp, the Roxbury relaunches in March.

• Melbourne has three new places for acts to play. The Rochester in Fitzroy which closed last May, reopens in mid-March. A consortium of operators from the Dr Morse, Aviary Hotel and The Vic Bar venues are behind its return.

• Also launching in Fitzroy is Vice Bar’s four-nights-a week band room. It is the initiative of Andrew Tynan, owner Grumpy’s Green, and Callum Linsell of Bonny and Clyde Bookings.

• The team behind Section 8, Ferdydurke and The B.East opened the Belville in Globe Alley in the City as a music and food establishment.

• Jimmy’s Den is a new pop up venue in Perth’s Northbridge with a 200 capacity (standing) or 100 (seated). JumpClimb Events are bookers.

• Canberra gets a new pop-up music venue in September. It is part of a $1 million renovation at the ANU School of Music to free up ground floor space.

• Sydney gets a Wayne’s World themed pop up bar, Whisky Jerks at Oxford Circus, between April 18 and 22.

• Sydney’s Basement is relaunching this month after renovations (including a new stage and green room) with a greater variety of music and entertainment and more options in food offers.

• The Flinders in Surry Hills, Sydney closed abruptly, blaming NSW Premier Barry O’Farrell’s year old lockout rules. “Barry got us in the end,” it posted.

• Plans by the Tamworth Liquor Accord to introduce ID scanners into the city’s late night pubs and clubs have been scrapped. The Accord did a study and found the scanners were too expensive for small businesses to install them.

Contemporary Music Course At Sydney Conservatorium

The Sydney Conservatorium of Music introduced a new practical course which will include songwriting and electronic music production.

The Bachelor of Music Studies in Contemporary Music, capped to 20 students, will also cover performance and pitching and marketing of their works.

Patrick Donovan To Chair Amin

Patrick Donovan, CEO of Music Victoria, is also the new chair of the Australian Music Industry Network (AMIN), a collection of peak state music associations. He takes over from Denise Foley, who stepped down from the role after two years after she left as Executive Officer of Queensland’s QMusic (a role she held for nine years) to become the producer of Brisbane’s BIGSOUND conference and showcase.

Donovan said, “One of the things that has impressed me most since joining AMIN four years ago has been the generosity of other state members to share information and advice around industry best practice. All of Australia’s musician and business members work on a national scale, so it’s in all of our interests for the Australian music industry to be as robust as possible to allow musicians and businesses to thrive.”

Nightmare, Pushworth, Create Alt-Rock Tour Co.

Sydney tour promoter Nightmare Music and Brisbane agency The Pushworth Group struck a new alternative music touring partnership. Tours will include The Bellrays & Supersuckers mid-year, the B-Boys World Champions in autumn, and a double-headliner for winter. Pushworth started out as Manick Promotions and celebrates its 25th year in 2015. Nightmare Music, set up 27 years ago, were the first to tour Suicidal Tendencies, Anthrax and Cheap Trick. Manny Kyriakidis, Pushworth’s Managing Director, said the partnership “will take alternative touring in this country to a new level” and continued to bring “artists that are complicit in raw and real experiences.”

Josh Pyke Partnership Back

Josh Pyke and APRA AMCOS bring back the Josh Pyke Partnership where a musician gets a $7500 grant, mentorship from Pyke, and a meeting with Gregg Donovan (Wonderlick) and Stephen Wade (Select) to set up a business plan for their career. Pyke said two grants he received at his start made a difference, adding, “If we all want it to remain a healthy and vibrant scene, then giving young artists a bit of a leg up is key.” See APRA AMCOS site. Last year’s winner GOVS went on to release two singles and became the 16th most listened to Unearthed artist in 2014. Pyke raised over $50,000 in total for the Indigenous Literacy Foundation since he became its ambassador.

Step Partners With Collarts Melbourne-based STEP (Society of Tastemakers & Elegant People) has struck a partnership with Collarts (College of the Arts). Both are in the business of dispensing knowledge to the music industry.

STEP has hosted four panels (‘Young Labels’, ‘The Critic’, The Managers’, The Artists’), Big Sound’s ‘No Sleep ‘Til Wednesday’’ party and curated ‘The Mavericks of Modern Music’ panel at Face The Music. “Having Collarts onboard will allow STEP to

further its reach, bring interstate performing artists and speakers to the events,” says Ashley Sambrooks of STEP. See www.stepevents.com.

Happy As Larry Eying New Talent

New Sydney publishing company Happy as Larry Music Publishing was previously Music Publishing. Its parent company, Music Sales Group’s Managing Director Jane English says Happy As Larry is looking to invest in songwriters from Australia, NZ and other APRA territories, especially those writing in a genre suitable for film, TV and commercial ads. It’s also looking at the purchase of local music publishing copyrights and catalogues.

Bon Scott Biopic In The Works

AC/DC were livid over news of the Rob Liotti-produced movie Bon Scott: The Legend of AC/ DC Unauthorised and told Scott’s friends not to be involved. Liotti is continuing to work on it and in talks “with a multi-Emmy Award winning Director of Photography with an incredible professional resume.”

THINGS WE HEAR • Tame Impala confirmed their third album would be out in 2015. It’s going to be “less rock and more electronic”, keyboardist Jay Watson hinted last year. Watson’s other band Pond will issue its sixth album this year.

• Josh Pyke is working on a project with the Sydney Symphony Orchestra which includes performing his songs with them at the Opera House in April.

• The 500 first release tickets for Wollongong’s Farmer & The Owl festival sold out in five minutes due to its “pay what you like” strategy.

• Rdio’s US-based CEO Anthony Bay said Australia is its fifth biggest market, after the US, Brazil, Mexico and Canada.

• A new label set up by Wollongong teen musicians Nicholas Kyrakoudes and James Cooper is Live Acoustic Wollongong (LAW) Records.

• Sydney broadcaster/ author Stuart Coupe is working on a biography of Mushroom Records founder Michael Gudinski.

• AC/DC’s Brian Johnson told Q that long before Malcolm Young got dementia, he had surgery for lung cancer and had a pacemaker fitted in.

• Brisbane’s Eternal Rest introduced their new guitarist Liam Strong by releasing a video of him playing Decapitated riffs to display his skill.

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Untitled-5 1

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PRODUCT NEWS GEAR

GOSS

• Brand new British manufacturer Modal Electronics has recently showcased their inaugural instrument, the 002, at The NAMM Show 2015. This highlyspecified analogue/digital hybrid super-synth with 12 discrete voices of polyphony is now complete and ready for the shelves.

Pearl Hybrid Exotic Cast Aluminium Snare Drums Australasian Music Supplies | (03) 9549 1500 | www.austmusic.com.au

The people at Pearl have been experimenting with different material combinations to find the perfect tone with their new Hybrid Exotic Series snare drums. They come in three separate builds; spun-composite vectorcast, dual-step seamless cast aluminium as well as crosslaminated kapur and fibreglass. All Hybrid Exotic snares are fitted with Pearl’s SuperHoop II hoops, STL-100 lugs, SR-1000 strainers, Remo Coater Ambassador batter heads and chrome hardware. These snares exhibit Pearl’s fine craftsmanship and further illustrate why they are one of the world’s leading producers of drums.

TC-Helicon Ditto Mic Looper Amber Technology | 1800 251 367 | www.ambertech.com.au

Tonebone Bassbone V2 Bass Effects Pedal Amber Technology | 1800 251 367 | www.ambertech.com.au

Tonebone have announced the impending arrival of the Bassbone V2, a control center for the bass guitar. The Bassbone V2 features assignable power boost and mute footswitches, a dedicated effects loop and PZB booster that increases the impedance and boosts the signal of piezo electric transducers. The Bassbone V2 still contains all the features of the original Bassbone, such as the built in Radial DI and amazing passive interactive EQ. This unit will give you complete control over your tone.

DV Mark Little Jazz CMC Music Australia | (02) 9905 2511 | www.cmcmusic.com.au

DV Mark are constantly trying to push the boundaries with their innovative amplifier designs. Whether it be their famously light weight housings, their focus on strong clean tones or the innovative layout of their products (notably the colour changing emblems that some of their products come with), they’re consistently making efforts to distinguish themselves from the pack. The DV Little Jazz is no different; it pretty well typifies the company. Strong tones in a simple and very manageable package. Smaller sized and lighter combos aren’t necessarily a brand new concept, but few this size come with this much power and offer a tone this enviable. People looking for strong clean tones should definitely check this one out.

PG.14 // MIXDOWN #250 // FEBRUARY 2015

If TC-Helicon hadn’t already impressed you with their outstanding range of effects pedals, the addition of the Ditto Mic Looper is sure to get you over the line. This vocal effects pedal, just like it’s cousins the Mic Mechanic and the Harmony Singer, is constructed with a metal housing and stomp buttons. Building harmonies and putting down overdubs is simpler than ever with this intuitive design. With a simple ‘loop’ button and ‘stop’ button, it doesn’t take long to wrap your brain around the operation of this unit. If that wasn’t appealing enough, for a limited time the Ditto Mic Looper is launching in a promotional package. If you purchase the pedal from an authorized Australian TCHelicon dealer before February 31, you’ll be eligible to claim a MP-75 microphone free.

Music Man Majesty 7 String Electric Guitar CMC Music Australia | (02) 9905 2511 www.cmcmusic.com.au

Music Man have worked closely with Dream Theater’s John Petrucci for years now to create guitars that are as intriguing to the luthier as they are to the player. The Majesty is one of the greater guitars to be spawned from this design partnership.

Volume pots are push/pull adjustable and the tone pots are have a push/pull coil tapping option to mix in or switch to the Piezo Bridge pickup. This creates a huge variety of tones and levels for the guitarist to play with, and presents the luthier with a rather interesting project when one of these comes into their shop.

• Behringer introduces 3 new stage box solutions for its award-winning X32 digital console, providing even greater flexibility in both form factor and I/O options. Both SD series models are packed into a convenient “stage box” format with the S32 expanding on the current S16 for maximum flexibility.

The SD8 provides MIDASdesigned remote-controllable mic preamps, balanced analog XLR returns at the stage end, plus an integrated Ultranet distribution hub for digital connection with Behringer’s P16-M personal monitor mixers as well as Turbosound’s networkable speaker systems.

• Bugera have released details on their new 2,000Watt Veyron Series bass amplifiers along with a pair of Turbosound-fueled speaker cabinets – the BT115TS and BT210TS. The ultracompact and stylish Veyron-M BV1001M and Veyron-T BV1001T amplifiers offer versatile EQ, an integrated balanced DI, dedicated FX Loop, Headphone out and comprehensive connectivity.

Bugera’s new, ultra-compact BT115TS and BT210TS cabinets each offer 1,600-Watt power handling capability. The LF drivers used in these cabinets deliver impressive performance – even when pushed to the limit.

• Arturia have launched an all-new world-class controller and dynamic performance step sequencer, BeatStep Pro at The NAMM Show 2015. BeatStep Pro has been designed from the ground up to provide an amazing hands-on hardware sequencing experience with 16 touchsensitive knobs for entering of pitch, gate, velocity amounts, and timing shifts per step.

• Audio professionals can now benefit from the addition of LCn Loudness Correct to TC Electronic’s arsenal of tools.

Designed as either a Pro Tools plug-in, or as a stand-alone version, LCn is available for

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PRODUCT NEWS stereo or 5.1 surround - LC2n and LC6n respectively. Hitting the right loudness target is essential in the modern era, and LCn makes this as easy as clicking a button or dragging a file to a folder!

• Australian audio company RØDE Microphones has introduced a brand new Ribbon Microphone. The RØDE NTR features a unique design, allowing the greatest possible acoustic transparency around the ribbon element and minimising resonance.

Attached to the ribbon element is a high output, ultra-low noise, low impedance transformer. Combined with world-class active electronics, this allows the NTR to be used with a wide range of preamps without the additional gain requirements of many other ribbon offerings.

Duesenberg Starplayer TV Electric Guitar Gladesville Guitar Factory | (02) 9817 2173 | www.guitarfactory.net

It’s not for nothing that the Starplayer TV is Duesenberg’s bestselling guitar. Deluxe Tremolo and perfect playability make the Starplayer a very versatile instrument. In addition, the Starplayer’s arched top and back bestows the guitar with a very stylish look. The Domino P-90 neck pickup, the Grand Vintage Humbucker bridge pickup, and an open and transparent sounding PAF-Type have given the Starplayer TV its classic sound.

Music Man 115 B250 Bass Combo CMC Music Australia | (02) 9905 2511 | www.cmcmusic.com.au

ZOOM Q8 Handy Video Recorder

Long ago, before the company was purchased from Ernie Ball, Music Man produced a range of amplifiers. These weren’t just any amplifiers either, they were renowned for their tone, power and durability. It’s been a long time since these amplifiers were in circulation, but now, once again, these amplifiers are being reintroduced by Music Man for a new generation of musicians. Amongst the range of amps being reintroduced is the Music Man 115 B250, a 250 watt bass combo capable of delivering a pure clean tone. A foot switchable 5 band EQ enables you to shape your tone. One of the classics is set to ride high again!

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

The Q8 is a HD video and a four track audio recorder all in one.

ZOOM’s Q8 is a high definition video recorder that features ZOOM’s famous interchangeable microphone capsule system. It is capable of capturing crystal clear video as well as pristine audio. The Q8 comes with its own specially designed X/Y microphone capsule. On top of that, the dual combo ZLR/TRS inputs give you even more options to capture audio. With a built in speaker and a line out for headphone monitoring as well as an HDMI output for video monitoring, this handy little video/audio recorder gives you more versatility and control than ever before.

ZOOM TAC-8 Rack Mountable Interface Dynamic Music | (02) 9939 1299 | www.dynamicmusic.com.au

Music Man 212 HD 130 Guitar Combo

The ZOOM TAC-8 is a rack mountable audio interface built for both the professional environment as well as for the home. The layout of the interface is simple, but beneath the hood, it’s powerful enough to meet the needs of a number of different professional purposes. It features 8 analogue inputs, 10 outputs and harnesses the strength of Thunderbolt technology, so you can reliably use your laptop on stage with high quality sound. Whether you’re looking for a rack mountable interface to remain at home for recording purposes, or need it to facilitate your live performance, ZOOM has you covered with the TAC-8.

Another of the amplifiers being reintroduced by Music Man is the 212 HD 130 combo. This is the flagship product in the recently revitalized Music Man amplifier range. It features two independent solid state channels capable of issuing 130 watts via four EL34s into two custom 12” neodymium speakers. While the tone is reminiscent of the discontinued model, the current circuitry removes a decent amount of the weight that can be so unappealing in a ‘classic’ amp. It comes with built in tremolo and reverb too. A versatile amplifier capable of delivering those classic tones.

PG.16 // MIXDOWN #250 // FEBRUARY 2015

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

• At NAMM 2015, audio specialist Sennheiser and Apogee Electronics, industry leader in digital audio conversion technology, have announced their collaboration. Details about the collaboration are to be revealed at a later date.

• Mackie has revealed the new DL32R 32-Channel Wireless Digital Mixer, a powerful new digital mixing system completely controlled wirelessly from Mackie’s intuitive Master Fade iPad app. The DL32R includes fullyloaded DSP and multi-track recording/playback, with each of the 32 inputs (24 XLR, 8 XLR/TRS combo) including Mackie’s all-new Onyx+ recallable mic preamps, with remote control over preamp gain and phantom power.

• Manley Labs have showcased the Manley Force, a fourchannel high voltage vacuum tube microphone preamplifier.

From the Manly Core, The Force incorporates the same proprietary hand-wound Manley Iron mic input transformers and 12AX7 vacuum tube amplifying stage operating from 300 V rails. Each channel includes a high-impedance, ¼” instrument input as well as an XLR microphone input.

On the front, each channel features a 120 Hz high-pass filter, variable input-level pad, phase invert, selectable +48V phantom power, and a high/ low gain switch.

• Harman have announced the acquisition of Melbournebased SM Pro Audio and its incorporation into the Harman Professional Division as an innovation hub for a wide range of pro audio and

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Balanced XLR inputs and link outputs  Mic or line operation with adjustable volume control  Signal/limit and clip indicator

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PRODUCT NEWS musical instrument (MI) technologies across Harman’s professional product brands.

The depth of innovation and quality of engineering talent at SM Pro Audio provides Harman Professional with a strong internal technology partner for a broad range of products.

M-Audio Delta Bolt Audio Interface Pro Audio Group Australia | (02) 9521 4844 | www.proaudiogroup.com.au

Recognizing the need for a high-quality audio interface that works with the super-fast Thunderbolt connection, M-Audio’s Deltabolt 1212 provides absolutely pristine audio recording quality by virtue of its proprietary Octane-X mic preamps. Deltabolt 1212’s superior preamps mean that recordings and bi-directional data transfers processed through the Delta Bolt 1212 have far better sound quality than previous audio interfaces, an invaluable benefit for users to whom ultimate audio quality is paramount. Deltabolt’s output DACs are 32-bit, giving Deltabolt another sonic advantage—the ability to operate at 32-bit/192kHz through the Thunderbolt link, compared to conventional competitive units that are limited to 24-bit/96kHz.

Martinez ‘Southern Star’ Deluxe Acoustic Guitar Series Jade Australia | 1800 144 120 | www.jadeaustralia.com.au

Martinez offers a range of beautifully crafted acoustic guitars in their new Deluxe ‘Southern Star’ Series. The Deluxe Southern Star Models are the top of the line in the Martinez range.

Available in both dreadnought and grand auditorium shapes, the Southern Star series feature higher grade Solid Spruce tops combined with either Rosewood or Flame Mahogany backs and sides. All guitars are fitted with a discreet Cadic pick up system, delivering a natural tone to your amplifier or P.A, and also come accompanied by a Vintage Paisley Case.

Sennheiser D1 Wireless Microphone Sennheiser Australia | (02) 9910 6700 | www.sennheiser.com.au

Sennheiser have just launched the D1 microphone, the latest in wireless audio technology that’s simple and intuitive enough to be used by just about anybody. It’s suited to a number of different applications with systems in place for vocals and also instruments. Transmitters and receivers automatically pair and select suitable frequencies while multiple D1 systems automatically coordinate themselves, taking the effort out of setting up and making this product perfect for the ambitious band or solo artist looking to make use of wireless technology.

PG.18 // MIXDOWN #250 // FEBRUARY 2015

Alto Professional Radius Wireless Systems Pro Audio Group Australia | (02) 9521 4844 | www.proaudiogroup.com.au

Alto Professional has announced the release of their cutting-edge Radius 100 and 200 families of wireless microphone products. These new wireless microphones provide reliable, crystal-clear sound for a wide range of professional vocal applications, assuring users of an extremely stable, reliable wireless signal, with virtually no chance of dropout or interruption. Ready for any application, Radius 100 comes in three distinct versions: Radius 100 - Switching Diversity receiver and handheld dynamic vocal microphone transmitter, Radius 100L - Switching Diversity receiver, lavaliere microphone and wireless belt-pack transmitter, and Radius 100H - Switching Diversity receiver, headset microphone and wireless belt-pack transmitter. The Radius 200 also comes in three versions, all True Diversity: Radius 200 true diversity receiver and hand-held dynamic vocal microphone transmitter, Radius 200L - True Diversity receiver, lavaliere microphone and wireless belt-pack transmitter, and Radius 200H True Diversity receiver, headset microphone and wireless belt-pack transmitter.

Maton SRS 808 Acoustic Guitar Maton Guitars | (03) 9896 9500 | www.maton.com.au

For a long time Maton have been look­ing for ways to improve their incred­i­bly pop­ul­ar 808 series of smaller bod­ied gui­tars, and it seems as though now, with their newest ven­ture, they’ve achieved every­thing they set out to do. A for­ward shift­ing of the X braces and the shift­ing of scal­lop peaks to nodal points around the sound­board help to enhance the vibra­tion of the top of the new Maton SRS 808. The shift­ing of the X braces also allowed the inclu­sion of a sec­ond, par­al­lel tone bar which allows the scal­ lop­ing of both tone bars, and spreads the load while reduc­ing mass. Adjusted brac­ing heights as well as a locked 15 foot radius for the arch of the back gives the plate res­on ­ ance sep­ a­ra­tion between top and back.

The new 808 now has the full, open, lower fre­quency response we were look­ing for, as well as a crisp, well defined tre­ble response. It sounds a whole lot big­ger than a small bod­ied gui­ tar should. Maton were hop­ing the end of this jour­ney would pro­duce a gui­tar that amazes the player at first strum, then con­tin­ues to impress them. With the new 808 series they’ve done just that.

• Washburn Guitars have revealed the introduction of their new series of acoustic guitars, The Woodcraft Series.

Striking features of this series are the exotic back and side woods of zebrawood and koa with matching headstocks, bridges and pickguards plus a maple fretboard on select models. The new series is comprised of 8 models available as dreadnought or dreadnought cutaway with electronics.

• Marshall Headphones has produced a range of portable music speakers with high quality audio reproduction and the classic look of Marshall amps. The Woburn produces clean pronounced high frequencies and handles bass with ease, with defined and articulate midrange. The analogue Treble, Middle and Bass controls give you a tactile experience that is becoming increasingly rare in the digital world.

• Turbosound have launched the groundbreaking iX Series featuring Klark Teknik Digital Signal Processing (DSP) and Class-D amplifier technologies. Equipped with an onboard twochannel digital mixer, the iX12 and iX15 speakers also feature wireless Bluetooth stereo audio streaming.

DSP presets have been optimised for a wide range of applications and speaker orientations, ensuring seamless integration with subwoofers and enhanced intelligibility for floor-wedge monitor applications.

• Spitfire Audio presents three legendary drummers recorded in one legendary location…

Headley Grange. Titled The Grange, Queen’s Roger Taylor, Red Hot Chili Peppers’ Chad Smith and Andy Gangadeen (Massive Attack, Duran Duran, Jeff Beck) all feature on this historic recording, which was showcased at NAMM 2015, and available online.

• Midas has announced the addition of the M32R and M32C digital consoles, and the DL32 32 x 16 stage box to the Company’s well received M32 platform. Both the M32R and M32C are 40-input / 25-bus digital mixers with a host of

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PRODUCT NEWS connectivity options. The M32R features the same awardwinning Midas Microphone Preamplifiers and “1-million cycle” motorised faders as the PRO Series consoles. The DL32 stage box doubles the I/O in a rugged 3U rackmount chassis with 32 Midas PRO Series microphone preamps, 16 XLR outputs, two AES50 ports, AES/ EBU stereo outputs, MIDI I/O and dual ADAT connectivity.

Sony DWZ Digital Wireless Technology The Resource Corp | (03) 9874 5988 | www.trc.com.au

Sony’s latest entrants into the wonderful world of wireless technology are certainly worth checking out. Let’s begin with the DWZ-M50, a wireless microphone system that offers 24-bit / 48kHz linear PCM digital transmission with up to six simultaneous channels for use on the road. A five band equalizer grants you control over the dynamics of the sound while a large colour LCD screen makes operating this unit a breeze. The DWZ B30GB is the guitar set version of the product and offers the same quality 24-bit / 48kHz linear PCM digital transmission, but with a cable tone generator and three-way powering options for added versatility with the convenience of wireless technology paired with a sound quality as strong as this, these products are sure to make a mark in the wireless market.

Allen & Heath Qu-Pac Digital Mixer Technical Audio Group | (02) 9519 0900 | www.tag.com.au

Digital mixing has been reshaped. Qu-Pac takes the power and quality of the Qu family of digital mixers and squeezes it into a desk or rack mount shape. The new format allows you to mix from your iPad, but the function of the mixer can be accessed from a front panel touch screen as well. While the unit itself is small, it can be expanded up to 38 inputs, making it suitable in a number of different settings. A failsafe solution for anyone needing the power of the Qu family with increased portability.

Standard Series

QSC GDX Series Amplifiers Technical Audio Group | (02) 9519 0900 | www.tag.com.au

GDX Series amplifiers are ideal for entertainment and production applications requiring performance and the convenience of integral signal processing. QSC focus on long-term reliability and this unit offers just that. It’s perfect for ongoing use by casual entertainers and production professionals alike. They feature high peak output power with up to 1600 watts from the GXD and 4500 Watts from the GXD 8, while power levels are matched to the most popular loudspeakers and optimized for maximum real world headroom.

Elite Series

Mayones Duvell Standard and Elite Guitars Ubersonic | 0430 195 601 | www.ubersonic.com.au

Audio-Technica System 10 Pro Digital Wireless System Technical Audio Group | (02) 9519 0900 | www.tag.com.au

Just announced at NAMM 2015, is the new System 10 PRO, a rackmount digital wireless system that delivers high quality audio without interference. This durable half-rack chassis houses two receiver units that can be operated remotely as well as locally. Up to five chassis can be linked at once creating a dependable multi-channel system.

Like all the products in the System 10 wireless family, the System 10 PRO rack-mount features 24-bit/48kHz operation, easy setup, clear, natural sound quality, and three levels of diversity assurance: frequency, time and space.

PG.20 // MIXDOWN #250 // FEBRUARY 2015

Mayones Guitars & Basses have launched the new Duvell Elite series and Duvell Standard series for 2015. The Elite’s feature an Eye Poplar top and mahogany body and are available in both six and seven string variants, while the Standards feature a flame maple top over a mahogany body and are also available in six and seven string variants. These guitars are as striking to look at as they are to play.

The Standard is an exceptional guitar itself, while the Elite, which is built with superior materials, is really quite a special instrument.

These guitars are handmade to customer order, so you know that when you get your hands on one of these guitars, you’re holding onto a unique product that’s made properly with attention to detail. These are available in a variety of colours, plus a natural woodgrain finish.

All Duvell’s are fitted with world classs hardware including a Seymour Duncan/Nazgul pickup combination.

• Ampeg have today announced the release of the all-new SCRDI Bass DI with Scrambler Overdrive, the first pedal Ampeg has released in years.

The SCR-DI combines a classic Ampeg preamp, EQ pedal and overdrive contained within a durable housing. This is a true Ampeg preamp designed to deliver Ampeg tone in any situation.

• Avid have been one of the busier players at NAMM this year, making a number of seriously ground breaking announcements. Although they haven’t made as many product announcements as others, they’ve made some changes to the ways that people interact with their software that will seriously change the musical landscape and strengthen their already enviable reputation.

On top of announcing the release of Avid Everywhere, a collaborative platform for users to access that’s likely to change the way dislocated people make music, they’ve also announced changes to make flexible licensing available to users and perhaps most notably a free version of Pro Tools. That’s right Pro Tools First will be positioned as industry standard software that offers many of the same capabilities as those used in professional studios.

• Audio Technica have also been one of the bigger players at NAMM, announcing the release of a number of exciting new headphones to kick off 2015.

They’ve announced the release the ATH-M70x, the latest flagship model in their beloved M-Series line. Perhaps the most versatile of the products announced, these headphones feature large aperture 45mm drivers that are purpose built to reproduce extremely high and low frequencies. On top of the M70x’s, Audio Technica also announced the release of their first ever open-back reference headphones, the ATH-R70x.

As the first product of its type built by Audio Technica, these too stand as a flagship model for the company. With specially designed drivers, these headphones offer a natural open-back sound. It may please some fans of Audio Technica

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PRODUCT NEWS products to learn that on of their most popular products, the ATH M50x will be released in a new colour scheme in 2015. The ATH M50xDG studio monitor headphones feature the same acclaimed technology and offer the same brilliant sound as they always have, but will now be offered in this new striking colour scheme.

Perhaps not thrilling news from a technological standpoint, but this news might appeal to people looking for top shelf monitor headphones with a stylistic edge.

ZOOM SSH 6 Shotgun Mic Capsule Dynamic Music | (02) 9939 1299 | www.dynamicmusic.com.au

The SSH-6 shotgun mic capsule for H5 and H6 recorders is here.

A super directional shotgun mic for capturing sound in the center, with a bio directional side mic for capturing sounds from the left and right. The stereo width is adjustable in the same way that the MSH-6 was. When using the RAW mode setting you can even adjust the stereo width after recording. A welcome addition to ZOOM’s fine selection of mic capsules.

Mashall Amplification Silver Jubilee 2555 Stack Re-Issue Electric Factory | (03) 9474 1000 | www.elfa.com.au

1987 was a special year for Mashall Amplification. It marked 50 years in the music industry for the companies founder Jim Marshall, and 25 years in the industry for Marshall Amplification itself. To celebrate, Marshall released the Silver Jubilee Series of amps.

Classic Marshal builds with a silver finish. Of this series, the 100 Watt 2555 stack became one of Marshall’s most revered and loved products, used by countless artists. Due to popular demand, Mashall is offering a UK made re-issue of the classic stack that exactly duplicates its features and legendary tone.

Paiste PSTX Cymbals Yamaha Music Australia | (03) 9693 5111 | www.paiste.com

Paiste have the enviable reputation of being able to deliver quality cymbal sets to suit almost any budget. The latest PSTX series, just announced at NAMM 2015, is a complete effect cymbal set for the player on a budget. These are built for lovers of loud, trashy and dirty sounds. The core of the series is made up of Swiss models. The unique sound quality is achieved by specifically placed and specifically sized holes in the cymbal. The PSTX range is vast, and features cymbals of all sizes to meet the needs of different types of players.

PG.22 // MIXDOWN #250 // FEBRUARY 2015

VOX AC15CI Red Amplifier Vox Australia | (03) 9693 5111 | www.voxamps.com

The infinitely famous VOX AC15 is what started it all. One of the most revered tube amplifiers ever produced, these custom EL84 driven units project that classic British tone through a Celestion 12” Greenback speaker. AC15s have been the amp of choice for countless musicians throughout rock and roll history. At NAMM 2015, Vox announced that these beauties are, for a limited time, going to be produced in a red casing, a classic tone with a unique finish.

• This year at NAMM, leading keyboard manufacturer Akai Professional announced the introduction of their new Advance Keyboard Series.

Available in 25, 49 and 61 key sizes, the Advance provides improved playability and advanced manipulation of any virtual instrument through interactive hardware controls.

These are designed with compatibility with software in mind. It aims to marry live playability and the concept of the workstation in a way that hasn’t been done before by removing some of the workstations reliance on the computer it’s attached to.

• Yamaha Music announced the arrival of a number of products at NAMM this year. Amongst them were the AG03 and the AG06 that are set to replace the Audiogram3 and Audiogram 6 respectively. These are high resolution audio mixers/USB interfaces with guitar amp simulators. They’re rather detailed units with a whole host of capabilities beyond their primary function. A very capable device for those wishing to record and mix from home.

Sony Portable Storage Drives FATS Digital | www.fats.com.au

Sony has launched a new series of portable storage drives. Today Sony are an all round technology giant, constantly pioneering innovative solutions in a number of different fields. Portable storage is no different. Offering both Hard Disk Drives and Solid State Drives as a part of the range, it’s designed with the user in mind. Speed, durability and accessibility are emphasised in these drives that offer safe and reliable storage and take advantage of USB3.0 to allow faster data transference. They’re shock resistant with a silicon outer cover and superior internal construction, offering protection against drops of up to 2.0m. If you value your work and need to move it around, it might be worth investing in one of these.

• At NAMM Dunlop announced the arrival of their Marcus Miller Strings. With his ground-breaking style and trademark sound, Marcus Miller has created a musical voice with an unrivalled influence on modern bass players. When he needed to evolve his strings, he went to Dunlop. Starting with Dunlop’s Super Bright formula, these strings are crisp and cutting with a big fundamental and powerful low end. “I finally have a set of strings that clearly translates what I hear in my head,” Marcus says. Marcus Miller signature strings are due out later in the year.

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© 2015 Avedis Zildjian Company

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C O V E R C O V E R

S T O R Y S T O R Y

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It’s that time of year again; Soundwave is upon us. As per usual, the nationwide festival tour boasts a monster lineup of acts. While Soundwave lineups never fail to be hair-raising, the festival has copped flak in the past for neglecting homegrown talent. Soundwave HQ responded to this criticism by explaining the number one objective is to compile an appropriate selection of acts, no matter their country of origin. With this in mind, whenever Aussie bands do show up on the bill, you know it’s a big deal. Local five-piece King Parrot were invited to play the Melbourne leg of Soundwave 2014. Clearly the Melbourne collective left a “heavy” impression, because they’ve been asked back for the full run of dates this year. Ahead of the tour, Mixdown speaks with the band’s frontman Matthew Young to pick apart their rising global profile.

“We were honoured to be asked to play the whole tour this year,” he says. “It’s a testament to the hard work we’ve put in. We’re like the underdogs to a certain degree: we don’t play fashionable music, we’re all pretty weird looking dudes, and we don’t wear cool clothes. We’ve forced our way into the scene by playing our arses off and playing from the heart. I think, regardless of trends and fashions, that goes a long way. I’m glad we still live in a world where that is recognised, because I’ve often had my doubts.”

Forming roughly five years ago, King Parrot’s debut EP The Stench Of Hardcore Pub Trash landed in 2011. Their debut long player, Bite Your Head Off followed in late 2012. A sophomore full length is yet to arrive, but it’s not as though the band’s been slacking off. Over the last few years King Parrot have toured Australia many times over, as well as gaining considerable momentum in the US and Europe.

“We’re a touring band now, there’s no doubt about it,” says Young. “We have been incredibly lucky to this point, but we have also worked our arses off and put 100% into each and every show.

“I don’t really cope that well with anything more than a month of down time now,” he adds. “It’s not really necessary. We love touring, so it seems stupid to not want to push ahead and keep building the bands profile around the world.”

When Bite Your Head Off came out, King Parrot was still in its infancy.

Touring like madmen over the last couple of years has allowed the band to sharpen their collective strength and overall sound. After the Soundwave tour, they’ll head straight back overseas for another hefty run of dates. But fear not about the band disappearing, as a brand new LP is on the way.

“After we toured with Origin and Beyond Creation in the US and Canada

PG.24 // MIXDOWN #250 // FEBRUARY 2015

We worked with some of the best people in the business to make this new record, and I think it will show when it’s finished.

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in September we took a month off to write the album in a friends barn in the woods in Vermont,” Young says. “We recorded the album in the US in January, just after the Down and Orange Goblin tour finished up.

We can’t wait to show everyone later this year. “We are much tighter as a band and I think we went into this record wanting to write better songs,” he continues. “I feel like we’ve achieved that. The first album was all the early stuff we had written. I still think that record is ok.

This one’s a much bigger sounding record and I think it really shows the care we’ve taken in trying to make better songs. We worked with some of the best people in the business to make this record, and I think it will show when it’s finished.”

King Parrot guitarist Ari White was responsible for instigating the majority of material on Bite Your Head Off. The same goes for the forthcoming record, although Young says the door’s always open for all members to throw in ideas.

“Ari is a machine with his riff writing. He has an unorthodox style to his formation of riffs and has a really good understanding of how he wants his songs to go. That being said, the writing process within the band has always been very much a team effort and everyone is involved with the final outcome of every song.”

Since forming, King Parrot have had a bit of trouble securing a permanent drummer. Current sticksman Todd Hansen has only been with the band for six months, but he’s had no trouble integrating with the group. “[The album] was written and recorded with Todd on drums,” says Young. “Toddy has been a great fit for us. We’ve had four different guys play drums in King Parrot since Bite You Head Off came out. To do the amount of touring and re-learning and rehearsing of the songs we’ve done in that time – I can’t think of another band that has done what we have under those circumstances. It could’ve easily have broken us.”

Far from devolving into a dysfunctional unit, King Parrot are on the up and up. With the Soundwave tour and new LP on the way, the band shows no signs of slowing down.

“I couldn’t think of a better bunch of people to be out on the road with,” says Young. “Sure it’s tough at times, but we are all best mates and we respect each other and that’s really important. We love what we do and we have a damn good time doing it. That’s what it’s all about for us.”

BY AUGUSTUS WELBY King Parrot play Soundwave Festival before heading off to Europe on an extensive international tour. To catch them in all their heavy riffing glory visit www.soundwavefestival.com and get yourself a ticket.

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Pick up and play instantly and in–tune with the Gibson G FORCE™ tuning system. G FORCE™ senses string vibrations and measures each string’s frequency, utilising internal servo motors to wind or unwind the string to perfect pitch. Unlike other automated tuners, G FORCE™ tunes the actual string, leaving the guitar tone unchanged. With functions allowing alternate tunings, custom tunings, tuning to instruments or to concert pitch, adding pitch offsets to individual strings or tuning with a capo, G FORCE™ is the new force in automated tuners.

Available from Allans Billy Hyde, Gallin’s Musician’s Pro Shop and Gibson authorised dealers.

Please visit AMI website gibsonami.com for your nearest authorised dealer.

Automatic Tuning.

I N T E R V I E W S Do you guys do a lot of festivals?

We normally do a lot of fly-out festivals throughout the year. We did RockAM Ring in Germany last year, we did one in Belgium.

Right, so the new album. Your solos on this thing are f**king insane! How do you do this?

Oh thank you! I just love it. I play all the time, all day, every day. Everyone says they don’t recognise me without a guitar. It’s just what I do. If I don’t practice during the day I get a genuine depression.

I get genuinely upset. I have to play all the time.

I get really inspired by a lot of guitar players like Jason Becker and Paul Gilbert.

FALLING IN REVERSE Jacky Vincent is a freak of a guitarist - a Jason Becker-inspired shredder with an impressive command of both technique and melody. He’s also one of those charismatic dudes who build up a massive fan base of guitarists and non-guitarists alike. As lead guitarist in Falling In Reverse he’s in a unique position to blast ultra-fast, super-precise guitar solos into the ears of fans who might otherwise have not allowed their attention to drift too far from the band’s charismatic vocalist, ex Escape The Fate singer Ronnie Radke. Falling In Reverse are heading to Australia for Soundwave this year and their latest album is Just Like You, which will be released on February 25.

So this is your first time to Soundwave, right?

First time to Australia ever!

Do you remember the first time you heard Jason Becker?

I don’t remember the first time. I just remember him always being an influence, as long as I can remember. Whenever people ask me who my influences are I always say that guy. Not just as a musician but as a person as well. Have you seen that documentary about him [Jason Becker’s Not Dead Yet]? Every now and then I’ll watch that and I’ll get down, like ‘What am I doing? Why am I playing music? Every time I’m having like a crisis or freak-out I think about Jason Becker and how he’s still making music [despite being immobile due to ALS] and I think ‘My situation is nowhere near as bad.’

So are your solos heavily composed?

Sometimes it sucks, the way it works. I want to hear the song before I do the solo, hear the verse melody, the chorus melody, so I can play off of that and make it fit a lot more, but I don’t really get to do that because I’ll hear the track instrumentally and Ronnie won’t have sung on it yet. It’s like ‘Here’s the instrumental, 15 seconds to solo’ or whatever it is, y’know? And I wanna hear the vocal a very big guy but he doesn’t make many guitars [laughs]. That’s the other guitar I used a lot of just for a lot of the juicy, fuller, heavy tones, essentially.

ENTER SHIKARI Enter Shikari have always operated outside the mainstream, offering up emotionally-charged, politically (and socially) aware anthems that are part intense musical assault and part spoken word. Their latest album The Mindsweep finds the band moving forward with their blend of post-hardcore, metal and electronic elements reigning in the dubstep stuff while still proudly blasting the synths when appropriate.

We spoke to guitarist Rory Clewlow on the eve of the album’s release.

Let’s start with the guitar talk! What are you using on the new record?

On the new record I’m using two main guitars. One of them is a 1960s or 1970s Telecaster that I borrowed from Fender because I was trying to get as many different guitars as I could - or as many different options, really - in the studio. I’ve always loved the Telecaster sound but the one I’ve got is really old and battered and doesn’t really work properly, so I managed to borrow one. I used that a lot. It’s a really fun guitar to play and it’s also ultra-responsive. The other guitar I used a lot was by a very small guitar maker called Jaden Rose. He’s

PG.26 // MIXDOWN #250 // FEBRUARY 2015

So what’s your approach to integrating the guitar with the synths?

It is something that we do try and think of more these days. When we first started doing this we didn’t think about that whatsoever. If a guitar part felt right we’d just go with it. We didn’t really think about where it sits sonically with the electronics, but we are trying to think more about that these days. For instance, if there’s a low synth taking up the lower midrange I’ll play something a bit higher up the fretboard or something. That’s about as far as it goes. Apart from that it’s just working out what part feels right and then letting the guy mixing it worry about how it’s going to fit together.

How do you guys write? At what point do you get the lyrics? Do the lyrics dictate the music?

Our singer always says he writes off the vibe of the music. He listens to the music we supply, and whatever emotion that conjures inspires the lyrics.

It’s generally that way around.

I’ve seen some photos of you rocking an SG with the EverTune bridge. What do you think of that thing?

The EverTune bridge is the best invention ever. I was going to say the best invention since sliced bread but it’s better than that. In the studio the EverTune hasn’t benefitted my time but live it has changed my world completely. Before, we would spend loads of money on recording a show, loads of money on mics, mixing it, getting it to sound really good, then you listen back to it and there’s one guitar string out of tune and you just can’t use the song then. You can’t really re-record the guitars because that’s cheating. So the EverTune bridge

line so I can play off of that, but I never get to do that. So I basically have to make a piece of music out of the backing, out of nothing. In a way that’s really fun but in another way I want to know more of the song. So what I’ll do is I’ll put that backing into Pro Tools or Garageband and set up about ten guitar tracks and I’ll record myself jamming over it, just improvising. Then I’ll keep going, because when you’re improvising you’re going to come up with cool stuff you never would have done if you planned it out. Then I go back through them and pick my favourite parts, make my solo out of my favourite improvisations I’ve done. Then I’ll start putting in harmonies and little stuff like that.

That’s how I write.

Your solo album must have been a good creative outlet then, given that you could compose the whole thing.

Yeah but it was so f**king rushed. I did the whole thing, 13 songs, an hour-plus of music, and I did the whole thing in eight days so again I’d just improvise and then go in and put the harmonies in afterwards. It was so rushed. I think I’m gonna do another one this year as a follow-up, but I’m refusing to rush it. I love the first album but there are parts I could do so much better now or play differently now. I guess it’s just part of being a musician. But yeah, it was definitely a good album for me. I write a lot of power metal. I mean, I guess I’m a metal head at heart so it’s good to have that sort of outlet.

BY PETER HODGSON

Falling In Reverse will be playing Soundwave 2015. For more information visit www.soundwavefestival.com means being in tune 100% of the time, and having 100% faith in being in tune no matter what.

Especially seeing as our live show is so energetic.

My guitar previously would just go out of tune constantly. I can’t really express how grateful I am for the invention of that thing.

What about amps and effects?

I basically took all the pedals off my pedal board, and then Dan Weller and Tim Morris, the producer and engineer we were working with, they have loads of pedals too, so we just chucked them in the mix. Every time we come to record a guitar part we’d make snap decisions and try to keep the pace up. Chuck a load of effects in, have a little strum, go ‘yeah that works,’ record it and move on, print it with the effect and everything. I used two amps in the recording: a Peavey 6505+ and some weird modified Marshall that the studio owned. I’ve got no idea what it was but it’d been rewired in the past and it sounded awesome so we used that.

Effects-wise we used the Ibanez Tube Screamer a lot, and a lot of BOSS pedals. The engineer had some weird ultra-small pedals that were half the size of BOSS pedals and they were weird effects like bit crushers. So we used a lot of them for sounds that are layered in like electronic textures and then mixed lower. So the guitar will never get credit!

But that’s okay.

BY PETER HODGSON

TOUR DATES MAY 18 - METROPOLIS, FREMANTLE WA MAY 20 - HQ, ADELAIDE SA MAY 22 - THE FORUM, MELBOURNE VIC MAY 23 - THE ROUNDHOUSE, SYDNEY NSW MAY 24 - THE TIVOLI, BRISBANE QLD

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I N T E R V I E W S

CARIBOU Released mid-2014, standing out in an overwhelmingly fertile crop of A-grade electronic full-lengths released in the same period, Our Love exceeded lofty expectations laden on a follow-up to Caribou’s landmark LP Swim, glistening with intimacy; radiant in togetherness. It was a relative wait, with UK-based Canadian Dan Snaith carving out a slight divergence with other solo project Daphni, alongside his newfound role as a father. Speaking from his London home over the holiday season, Dan explains the emotional investment of Our Love.

“The reason it took four years had much more to do with other things going on in my life; having a daughter, I made the Daphni record, did a bunch of DJing, I toured constantly after Swim came out. It didn’t take me longer to make this record compared to previous records; it just took me a while to get around to it. I was dying to make it by the time we finished touring, just dying to make this Caribou music again,” he says. “There were bits and pieces that had been around since 2011. When I had a second to mess around with things, or when I was making something for the Daphni record and it wasn’t really dancefloor-oriented, feeling like it was going in a different direction.

I’m not very good at having a sense of what I’m going to do in advance, it’s more getting my hands dirty and actually making music, and feeling what my music is going to sound like. The only thing I get a sense of, accurately, is this affection when Swim came out.

MILLENCOLIN Millencolin’s mark on the pop-punk landscape cannot be underestimated. You only have to give a cursory listen to the bands that came after them to hear the influence that these four lads have had. Australia’s favourite Swedes, return to the land down under in February for Soundwave and they’ll be playing some sideshows with their buddies The Vandals and The Interruptors while they’re here. We caught up with guitarist Erik Ohlsson to talk about the band’s legacy and their future.

So, Soundwave!

I’m really looking forward to The Smashing Pumpkins. I’ve never seen them and they were one of my favourite bands when I grew up.

So let’s talk guitar. What are you using at the moment?

I’m playing a Gibson SG, two, actually. For the first time I’ve got two guitars which feel exactly the same. I’ve been constantly trying to get that because we switch a lot and I’m really happy with those. I love SGs. They’re a good light guitar.

PG.28 // MIXDOWN #250 // FEBRUARY 2015

People were talking about what it meant to them.

That was my first angle for making another Caribou record after Swim. I never really considered that at all, before that.”

The ascendance of Daphni - Dan’s peripheral club-ready project - since the release of Swim has solidified a rekindled fondness for the dance floor, an aspect not exactly shied away from within the realm of Caribou. “There doesn’t have to be a firm distinction between the two for me at all, really.

There is a very different method of working and intention, which is why they end up sounding different. The Daphni stuff, I never intended for that to be released. It was just made to be played in the DJ sets after people saw me in the context of dance music again, and I wanted to have more music to play. Not necessarily my own, but that was the easiest way to make sure I knew people wouldn’t have heard it before, getting a track the way I wanted it to sound in the club. That’s why I made that record, it wasn’t intended to be an album, and it wasn’t intended to be released in the first place.”

Caribou exhibits a canny ability to toy with repetition, a vital component within dance, in a compelling fashion, orchestrating deft, underhanded swells. “Repetition in music has been a fascination of mine for my entire adult life,” he explains.

“The first real challenge I had, when I felt I really developed my current sensibility about music, was when I went from listening to horrendous progressive rock, where virtuosity is valued and repetition is definitely not, to then hearing all the records and types of music where repetition is a primary element. Even now, something I learned from making the Daphni record, and from DJing, is the value of music sitting still. For me, it’s a novice mistake when trying to make music that works in a club by trying to change it too much. The best thing you can do is let it sit there, or change it only every once in a while. Our Love is a lot about being

as concise as possible, getting these ideas in there in very short periods.”

Our Love is radiant in its densely layered emotion, searching deeper than the sheer, sometimes cheap, euphoria present throughout popular electronic music in recent years. “That was definitely the intent, to pack as much emotion from my life into there. I’m in no way claiming to be in this tradition, but the way I see that being reconciled is through the tradition of dance music comes from soul music through to disco music, where people have a superficial understanding about the most popular, super, super happy music, but a lot of it is very bittersweet. Marginalised groups expressing themselves in that space that they could escape from the difficulties, but they could put that in the music as well. With house music, it’s very much the same thing. That’s also more general outside of dance music, they have been my favourite songs, the songs that are simultaneously joyous and melancholic, that blend, that bittersweetness.

That’s something I think music does so well as an art form - compared to film, poetry, visual art – it synthesises those two opposites. That’s something that’s so interesting to me. Our lives don’t feel like one note, it always has things and its opposite right next to them. I wanted to make music that had these things, these contradictions next to each other all the time.”

BY LACHLAN KANONIUK

CARIBOU performs at the 2015 Laneway Festival, taking place Saturday February 7 at the Footscray Community Arts Centre (VIC), as well as headline shows at the Sydney Opera House on Tuesday February 3, and the Forum in Melbourne on Thursday February 5.

It’s often tricky with two of even the same model of guitar for them to be the same because you’re dealing with the variables of a chunk of wood.

Yeah. I’ve got like four SGs and the other two feel completely different. I used to play Fender. I played a Stratocaster for a long time in Millencolin and then we got an endorsement from Guild Guitars when Fender bought Guild. I got two Bluesbirds, a copy of a Les Paul, pretty much. That was really, really strange because I ordered two and they were just starting to make these again. So I got number 441 and 442, and one of them had a really slim neck which I like, and the other one had a really fat neck.

My roadie went to the factory and said “I want this slim neck profile” and they said “No no, we don’t make that one. We make a thick one. We don’t make those.” So one in the series just had a really slim neck, which I love, and all the other models had this fat neck! It was really, really strange. They said they never made it but they did! I loved that guitar but the electronics sucked! Everything came loose inside. It sounded like maraccas, the whole guitar!

My guitar tech had so much trouble. He’d be fixing that guitar so many times, but it sounded alright.

After that I went back to the Stratocaster because you can trust those electronics to work for a full tour. Then we got this deal with Gibson in Europe.

I wanted to play SGs because they’re so light and nice. I first played an SG live when we went to South America and the airline lost the luggage. I accidentally got an SG and I really loved that guitar.

It’s a little bit weird, the weight of the guitar, because they’re so top-heavy. But as long as you get used to that, I love to have that light feel on stage.

other head which Mattias is using, which they’re not making any more, the Stiletto. Love the sound of those. Live the Triple Rectifier is really good. I love to switch channels but I hate the little mute while you’re switching channels. It’s annoying with that little dead air there.

What about amps?

We’ve been endorsed by Mesa Boogie for a long, long time and I love their stuff. I use a Triple Rectifier and their cabinets. But I really like the

BY PETER HODGSON

What pedals do you use?

I’ve been switching because we get stuff from people. I’m not sure what I’m using right now to be honest. I know I’ve got one of the classic BOSS Distortion pedals which I’ve been using since the first time I started to play electric guitars. I love the distortion in the Mesa Boogie so I try to use that sound more than pedals. I got some delays and I’ve got a chorus which I rarely use. And I’ve got a wah-wah which I rarely use. Then I’ve got a preamp that raises the volume a little bit, but I honestly don’t know the names of the new ones I’m using right now.

I hear your influence on a lot of bands. Do you pick up on that?

Ah, maybe. Sometimes. I dunno. Not really, to be honest.

So are you guys working on any new music?

Yeah! We own our own studio so we’ve been recording a lot, since March last year. We’re wrapping stuff up now, so I think we will have one new song officially by the time we come down for Soundwave. Epitaph has talked about releasing one song either during Soundwave or the week before.

So that’s exciting, but then more stuff will come out during 2015.

Millencolin play Soundwave. For more information visit www.soundwavefestival.com

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I N T E R V I E W S Musically the tracks interlock in complex ways, with a melody or lyric from one track often reappearing in a totally different context elsewhere.

Mansoor: There are a bunch of themes and motifs that pop up over the albums. Some of them are overt, and some of them are a bit more subtle. All it’s just rewarding people for listening. That’s what I like.

PERIPHERY Periphery first conjured the idea of their new double album, Juggernaut Alpha and Omega, over seven years ago. Since that time fate intervened, with the band propelled to the top of the ‘djent’ genre with their progressive song structures, aggressive guitar tones, virtuosic techniques and abstract themes. So since that time, Juggernaut has evolved to an entirely different beast. The two separate albums released in late January contain virtually none of the music created for the initial Juggernaut concept. Instead it’s a sprawling saga, the narrative of which is not immediately apparent, but will be made clearer at some point in the future. We caught up with guitarists Misha Mansoor, Jake Bowen and Mark Holcomb to discuss it.

What’s the Juggernaut story?

Mansoor: For the time being, we’re keeping secrets. We didn’t want the narrative to be too on-the-nose. Everyone in the band wants to see what people will make of it and how they’ll interpret it, and then eventually we have a good idea for how to get the actual story out.

[Vocalist] Spencer [Sotelo] took charge of the concept. The challenge was to get the music to fit the vibe of the story.”

CLOWNS

We push back the start of the interview by a couple of minutes. Jake Laderman, the band’s drummer, takes the call at the designated hour, but he’s in the bathroom. We can tell – bathrooms have very distinctive acoustics. We give him some peace and reconvene for a more comfortable and convenient chat.

Despite, or maybe because of the fact, they come from Cheltenham (Melbourne’s bayside suburb for old folk), four-piece punk outfit Clowns rock way hard. They’ve been knocking about together since about 2010, but have achieved a remarkable amount in a super short space of time, not the least including their tours of China and South East Asia (the latter of which involved shows in the kookiest places – an ice-cream parlour on a Tuesday night, playing to 300 kids, and car parks) and their debut album, I’m Not Right, came in at number five on Triple J’s Short.Fast.Loud Top 40 releases of 2013.

The band is named ironically. They hate clowns (with respect, don’t we all) and they take what they do, but not themselves, seriously.

It’s not an easy balance, but we know it to be true for a couple of reasons. First, they took a couple of years off uni, not to fuck about

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So how did the project evolve?

Bowen: In the very beginning it was supposed to be an EP. Then the first album was going to be Juggernaut. But it just never worked out the way we thought it would because of the way our career went. It’s been a long time in the making and we didn’t use any of the old stuff that we intended for this album at all! It’s not that it was bad music.

We just wanted to write stuff that was way more cohesive. The only way to do that is to start from scratch.

There are a few interludes of what you could call ‘Space Jazz,’ like at the end of “MK Ultra.”

What’s going on there?

Holcomb: I’m super proud of that one. Me and Misha wrote that little interlude. I think we were working on the song “Heavy Heart” and I was jamming on some jazzy chords and he was like “Let’s mess with that!” Anyway, he was like “Let me try soloing to it,” and it was really cool. It sounds really old-timey. I love the Fallout video game series and I wanted it to sound like that video game, so we added a bunch of static on it and made it sound like it was coming out of a vintage ham radio.

Last year’s Clear EP gave fans a bit of a hint as to what the band was capable of when exploring their individual songwriting styles. Did that feed and travel, but to make damn sure the band was good. Secondly, they’re not afraid to take pictures of themselves pissing or jumping of a roof, all in the name of good fun. It’s all about balance, right.

Kinda cut for the same cloth as the Meanies and the Hard-Ons, Clowns are open about their influences. “Over the last four or five years, I’ve been blasting nothing but the Hard-Ons or the Meanies,” Laderman admits. “The first time I heard the Meanies was probably when I was finishing high school. The first video I ever saw of them was them playing Scum at the Big Day Out. Link [Meanie’s] vocals were so crazy and he was such a showman. He had absolutely no care for himself, his body or his own well-being, he just throws himself around.

“As a band, that was something we wanted to replicate when we first started, just to create anarchy. I can’t remember how many pubs we got kicked out of for breaking glasses and being reckless, but since then we’ve got a bit more respect and try not to break things as much.”

Happily for them and us, Clowns have toured subsequently with both the Hard-Ons and the Meanies. “It’s pretty crazy,” Laderman laughs. “It’s not something you expect to do when you start a band. It was certainly something we wanted to do and pushed for, but it’s a dream come true really – getting to watch Blackie [Peter “Blackie” Black, the Hard-Ons’ guitarist] a couple of nights a week in a row is pretty phenomenal.”

Not only do Clowns have a sense of humility, they’re also pretty smart – especially Joe Hanson, their guitarist. “Joe is a really smart guy, I’ll start with that,” Laderman chortles. “He’s easily the most intelligent and academic member of the band.

He’s always been very switched on. He didn’t have a job for a long time – I think he was trying for a get rich quick scheme. He went on Millionaire Hot Seat first and lost, which was kind of funny and we all gave him shit for it. But then out of nowhere, he rolled up to band practice one night and said,

into the collaborative nature of Juggernaut?

Mark Holcomb: This was the first album where we really collaborated this closely. There is a lot of yellow tape, and a lot of natural obstacles that face you when you talk about a collaborative environment. With this, where you have six very, very opinionated members, it’s a blessing, but you have to also be willing to work through it and deal with the negatives as best you can to realize there’s a better final product waiting at the end.

So what guitars did you use?

Bowen: I used my Ibanez JBM100 TITAN signature model and a new custom 7-string version with a 26.5” scale length. “Tuning to Drop Ab on a 25.5” scale is pushing it in terms of the feel and tone I want, so I needed something a little longer.

Holcomb: For most of my parts I used my PRS guitars, including an obsidian Custom 24 and a prototype with a 25.5” scale length, 20” fretboard radius and Seymour Duncan custom pickups.

Mansoor: I used a variety of Jackson Custom Shop guitars, as well as a Fender Stratocaster and Telecaster. We also used a pair of Mayones guitars with EverTune bridges make sure the intonation was consistent, because when you’re stacking so many guitars that becomes real important.

Holcomb: That thing was a life-saver! Those things are freaking magical pieces of technology!”

Mansoor: The guitar tones on the last album were the aspect I liked the least. This is why we wanted to do this album ourselves and have full control over everything. This album sounds the way I’ve always wanted our albums to sound.

BY PETER HODGSON Juggernaut: Alpha and Juggernaut: Omega are out now on Roadrunner Records.

‘I went on Million Dollar Minute today and won 26 grand,’ which was probably the best timing ever for us.

“I recall having a conversation with our vocalist, Stevie [Williams], on the way to that practice and both of us were down about how much money the band had and all of the things we wanted to do. So, when Joe told us that he’d won 26 grand, it meant that we could disregard that whole conversation.” Testament to his good nature, Hanson has indeed devoted the winnings to the band (and he’s not even a founding member).

In preparing for the interview, we’d discovered that the cops pulled the plug on Clowns at their Pony launch show. We ask Laderman to elaborate, but it turns out it wasn’t quite as rock’n’roll as it sounds. “The cops just rocked up and we didn’t know why, they just strolled in and came on stage and stopped us mid song,” Laderman recalls. “They asked if my sister was there, which she was. In my head I was thinking, ‘fuck, what’s she done.’ I don’t actually recall what it was, but it was nothing that serious, so there was no real reason to stop the show. As much as I’d like to say it was something silly that we were doing, it wasn’t. It was just really quite random and the photo made us look a lot more bad arse then we actually were. It’s a pretty good representation of Pony (now Boney) in general though. For the last five years, every night ended at Pony and cops were often involved.”

BY MEG CRAWFORD

CLOWNS play Friday March 6 at the Bendigo Hotel, Sunday March 8 at Karova Lounge and Monday March 9 back at the Bendigo Hotel.

You can pre-order their cracking new album, Bad Blood, from Poison City Records’ e-store.

MIXDOWN #250 // FEBRUARY 2015 // PG.29

I N T E R V I E W S

PUBLIC SERVICE BROADCASTING Whilst sampling isn’t an unusual act, we’d hazard a guess and say that not many groups have ever chosen to sample a long deceased Royal Navy lieutenant commander or a WWII American war correspondent over a funk/soul pressing. In fact, we don’t think anyone ever had before Public Service Broadcasting came along. The brainchild of multi-instrumentalist J. Willgoose Esq. and drummer Wrigglesworth (not their real names), PSB combine audio and visual bytes from a bygone era with contemporary soundscapes.

Like The Avalanches before them, PSB approach sampling a little differently; where The Avalanches mined old radio plays and used them as focal points for their tracks, PSB were initially inspired by war-era propaganda movies. “There was a documentary on BBC Radio 4 that I heard about how The British Film Institute had released some films online for the first time,” recalls Willgoose Esq, sounding pretty with it after admitting he’d just rushed home after being ‘out and about’ on a cool England eve.

“I didn’t hear it and think instantly, great! I’ll form a band who are gonna sample Public Information Films and we’ll put loads of things on TV’s and play spotty weird music around it!’” No, that idea came later, and more gradually; Willgoose toying around with samples and tracks before gathering some momentum. Now they’ve a second LP on its

KITTY, DAISY & LEWIS The precise role of a record producer is difficult to define.

In some cases, producers are granted executive authority over the recording process and encouraged to give the album their trademark sound. Another scenario involves enlisting a producer as a secondary advisor in the studio, who’s there to make suggestions that’ll perhaps lead the artist into unexpected territory. Then there’s the producer who effectively becomes part of the band. They embed themselves in the writing process and work closely with the artist to flesh out the album’s bigger picture.

After a three-and-a-half year wait, the third LP from London sibling-trio Kitty, Daisy & Lewis is finally here.

Simply titled The Third, the album was recorded in the band’s self-built London studio. In spite of the homemade approach, production duties weren’t kept within the family. Rather, none other than Mick Jones, guitarist and sometimes-singer of The Clash, was at the helm. So which of the aforementioned roles did Jones assume? Mixdown catches up with middle-sibling Lewis Durham to find out.

PG.30 // MIXDOWN #250 // FEBRUARY 2015

way and they’re embarking on their farthest flung shows here for WOMADelaide and a Northcote Social Club gig.

Willgoose seems pleasantly surprised that the whole thing has even gotten this far. “We got picked up by a small management company in 2011 and what they said to me was, ‘you’re a live act, you might get some festival bookings, you might be able to live off this for a year maybe if you’re lucky’. So I don’t think any of us thought we’d trouble the charts or anything. It’s definitely a surprise”.

Getting this far, according to Willgoose, is probably due to “the strength of the concept” and “how it all ties together”. Public Service Broadcasting is after all, a multi-media, multi-sensory experience.

They’re not a nostalgia act though, the music is usually written around and inspired by the chosen samples yes, but the thematics are boiled down, in a sense, to their purest form to then spark the writing process. The first track off their War Room EP, ‘If War Should Come’ is a prime example; it encapsulates the tension and apprehension of preWWII London but sounds in parts like it could easily be the score to a David Fincher film.

Therein lies the beauty of PSB, modern and progressive rock blending with electro ambience, sprinkled with all kinds of sound and video bytes from WWI era propaganda, U.S road safety ads, mountain climbing documentaries, and for their new LP The Race for Space, the Cold War. So is PSB then just an opportunity for a couple of history buffs to nerd out?

“Well it would be but Wriggles doesn’t really get into it, he hits the drums and hits them very well but he’s… well I’m constantly trying to educate him but it just seems to go in one ear and out the other.

I keep telling him he needs to do his homework for this album because if he gets asked any kind of questions about space he should probably have some sort of answer.”

So Willgoose gets pleasure out of it even if Wrigglesworth doesn’t, and even if it involves a bit of trawling through old recordings. “Once in a “We’d known Mick Jones for quite some years,” he says. “I knew him around from various clubs and things and we had a lot of mutual friends. We’d actually played a gig with him; he used to run his own night and he booked us once. Then we saw him at the Notting Hill Carnival – we couldn’t really find a producer, we were just going to go ahead with it anyway and just record – and said to him ‘Do you want to sit down and listen to some tunes and see what you think?’ And he came down and he was really excited.”

From here, Jones jumped in headfirst: “He ended up coming every week, four times a week, with his guitar and he wanted to learn the songs,” Durham says. “We were just rehearsing solidly for about five months. He’d come round and learn the songs – that really was a big part of the production. The fact that we did so much rehearsing meant that, by the end of it, we knew the songs inside out before getting into the studio.

“When we got into the studio,” he continues, “his idea was to capture what we were doing in rehearsals – to capture that energy. Once we’d got that, we then worked on it to finish them up and layer some more stuff onto them.”

This isn’t Jones’ first stab at record production. In fact, he co-produced The Clash’s classic double album London Calling as well as the majority of releases from his post-Clash project Big Audio Dynamite. More recently, Jones took charge of both albums by The Libertines; 2002’s Up the Bracket and 2004’s selftitled effort.

It’s hard to think of anything tougher than taming Pete Doherty during his drug-fuelled heyday. However Lewis and his two sisters are a particularly tight unit.

Sibling relationships are often difficult to penetrate, and meddling with that unique synergy can get ugly.

But, even though he was only a casual acquaintance prior to the album production, Jones comfortably settled into the family.

while you hear something and you know it’s right, that’s a very nice feeling, then it’s down to you to write the music. So it’s a challenge once you do find something good, you’re like right, what am I gonna do with that?”

The writing part can be tricky, but not having to emulate music from the samples era helps, as Willgoose is free to go where the samples take him, noting it would be far more difficult if they were trying to make the music sit alongside the footage in a more traditional sense. “We’re not trying to make music of the period. We quite enjoy the clash of the new and the old, that’s kind of the point.”

And although much of their press material promises they’ll ‘inform, educate and entertain’ (that was even the name of their first album) Willgoose says all but the entertain part is kind of a joke; a line they thought up to try and stand out from the number of other shows at Edinburgh Fringe Festival 2010. “I was trying to write something tongue in cheek!” he admits, “We’re not by any means really trying to set out to inform or educate because we’d swiftly become overbearing and tiresome.”

Which is not to say he has no belief or interest in sharing his love of history and archival AV, in fact when we broach the subject of community television and larger publicly funded bodies like the BBC and ABC Willgoose bemoans the way things are headed. “For all the BBC’s faults, it has so many virtues, so many things about it we would miss if it was replaced by a private company. Ultimately the publicly funded institution that is subject to an independent scrutiny has got to be more trustworthy than the massive media conglomerate owned by one person.” Amen brother.

BY GARY WESTMORE

Public Service Broadcasting will be performing as part of WOMADelaide this year, for more information visit www.womadelaide.com.au “It was just like having a friend over really,” Durham says. “He’d turn up and you’d go ‘Hi Mick,’ have a cup of tea, talk a load of bollocks and then play music. It was great. It wasn’t like working, or him-versus-us.

We were just like really good friends and we still are now. Even though the record’s done, he still turns up at my doorstep, comes in to have a cup of tea and chill out.

“I think if you’re not working with friends then it can become a bit stressful,” he adds “We’re lucky because we’ve never had to work with people who aren’t really part of the family. He was really perfect – what he did for us, it was great.”

So what has Jones’ presence brought to the record?

Although The Clash started out as a snarly punk band, that’s certainly not where they stayed. In actuality, The Clash are one the 20th Century’s most nimbly diverse rock bands, traversing rock, pop, reggae, dub, rockabilly, R&B, jazz, calypso and even nascent hiphop in a ten year recording career. The two previous Kitty, Daisy & Lewis records illustrate the trio’s knack for adapting pre-‘60s forms of rock’n’roll. The same can be said about The Third, but this time around they’ve also harnessed a tidier pop aesthetic.

“We tried to make it a little bit more polished,” Durham says. “It was just something we wanted to do. We’ve always been fans of pop music. I think a lot of people assume we just listen to old rock’n’roll and stuff, but that’s not the case. We grew up listening to a lot of different kinds of music. Especially in Britain, there’s a lot of music coming together from different cultures. It was a half-conscious decision, but I think it was a natural progression musically.”

BY AUGUSTUS WELBY

The Third is out now via Shock Records.

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ESTABLISHED 1946

THE NEW SRS 808 PART OF THE NEW

SOLID ROAD SERIES

www.maton.com.au/srs

THE 2015 NAMM SHOW Every January the musical instrument industry gathers in Anaheim, California for The NAMM Show. NAMM (National Association of Music Merchants) is a non-profit organisation created to strengthen the industry, bringing together manufacturers, retailers, media, artists and investors in the name of networking, sales, generating new contacts… okay, that’s the professional, dry way to say it. NAMM really is four days of checking out sweet-ass gear, enjoying a few too many beers with the friends you only see once a year and watching killer shows by artists from the obscure to the massive (Stevie Wonder played this year - Stevie Wonder!). The 2015 NAMM Show seemed to have a nice relaxed vibe compared to some years when it can seem ultra-hectic. It seemed like everyone had a story to tell about a particularly beneficial meeting or deal, or a fun hang with a favourite artist. Let’s have a look at some of the millions of items on show, shall we?

MARTIN Martin CEO 8

III BFR in Blue Berry Burst. Sterling By Music Man revealed plenty of new models including a beautiful koa-top JP100D with John Petrucci’s DiMarzio Crunch Lab and LiquiFire pickups, a beautiful Ruby Red version of the JP170D 7-string, the S.U.B RAY4-MG/4 in mint green with maple neck, and a new S.U.B. AX4-TBL in Translucent Blue. The Ray34-PBB in Pacific Blue Burst is also particularly beautiful.

TC ELECTRONIC

TC Electronic launched several new pedals including the Helix Phaser (which sounds amazing) and Viscous Vibe (based on the legendary Shin-Ei Uni-Vibe), K-Series Bass Cabinets (K210, K212 and K410, which all contain high-end custom-made drivers and a 1” ceramic tweeter, all encapsulated in a durable and roadworthy plywood cabinet).

MARKBASS/DV MARK

ORANGE

Orange have dipped into some new areas this year with the launch of the new tangle-free Twister Cable; the Orange Rock Guitar Syllabus (an educational course available online or in paper format), including videos featuring Orange Ambassadors such as Fall Out Boy’s guitarist Joe Trohman. Orange also unveiled the OB1 Series of bass amplifiers, Class A/B rack-mountable heads with two independent simultaneous signal chains inspired by the trend of adding a guitar amp to augment the harmonics of a bass amp.

Markbass Multiamp FG

MARSHALL Silver Jubilee

GIBSON/EPIPHONE/KRAMER Gibson Les Paul Monitors Martin Guitars debuted a number of new models including the CS-00041-15, CEO 8 and two new Authentics Series models, as well as introducing their new Martin Vintage Tone System (VTS), which uses a unique recipe based on the torrefaction system. It allows craftsmen to ‘target’ any decade and age the top and braces to the specific era, allowing them to recreate the look and sound of an old guitar from a particular era. Martin also introduced the Dreadnought Junior, a new body size fashioned for player comfort, clear powerful tone and easy action. It sounded surprisingly full-voiced for such a small instrument. But the standout has gotta be the CEO 8, with favored specifications selected by Chris Martin. Martin’s largest acoustic body size, the Grand Jumbo, with D-TAR Wave-length Multi-Source electronics, and a look that is cheekily reminiscent of a Gibson Jumbo (hey, they can’t say it but we can), right down to the styling of the Martin logo.

ERNIE BALL MUSIC MAN Music Man Petrucci

Ernie Ball Music Man showed off a neckthrough StingRay bass, a few new John Petrucci models (the Majesty Artisan looked amazing, and the JP 15 was quite a looker too) and the Steve Lukather Luke

Kramer Satchel

DV Mark expanded its great-sounding Multiamp modelling system with the Multiamp Mono and Markbass Bass Multiamp Mono as well as a the Multiamp FG for Frank Gambale and the Tube Multiamp inspired by virtuoso Andy James and designed to blast its tone through a speaker cabinet via a pair of KT88 tubes. There was also an 800 watt version of Randy Jackson’s signature bass head incorporating a tube preamp, tube-emulating digital power amp, tube compressor and tube-driven ‘Colour’ contour control.

Marshall launched the 2555X Silver Jubilee Reissue stack with high/ low output switching, vintage style appointments, two channels and 100 watts of power. The Silver Jubilee is a favourite of dudes like Slash and this reissue was one of those “Dude, did you see…” topics of NAMM 2015. Marshall also showcased a limited edition version of the Marshall Fridge decked out in Motley Crue livery to celebrate the band’s final tour.

JIM DUNLOP

ROLAND/BOSS BOSS ES-8

Gibson had already unveiled the bulk of their 2015 models during the last quarter of 2015, with many guitars upgraded with G-FORCE self-tuning technology, a ZeroFret Adjustable Nut, new slightly wider fretboard (with the same string spacing) and a new top wood grading system. Also on show were Les Paul headphones and monitor speakers. Epiphone launched new signature models for Gary Clarke. Jr and KISS’s Tommy Thayer based on the guitars they’ve been playing lately (a blue/black Casino and a white and chrome Les Paul, respectively), and Kramer unveiled a signature model Pacer for Steel Panther guitarist Satchel in a leopard print finish in your choice of yellow or purple.

PG.32 // MIXDOWN #250 // FEBRUARY 2015

Dunlop went nuts with the new products this year, including Cry Baby Mini Wah (this thing will be a big hit for those concerned with pedalboard space), Marcus Miller Signature Super Bright Bass Strings, MXR Iso-Brick Power Supply, MXR Bass Distortion, Super Bright Guitar Strings, Way Huge Saffron Squeeze MkII Compressor, Herco Vintage ’66 Nylon Picks, Jacquard Straps, New Primetone Sculpted Plectra shapes and gauges, the Platinum 65 Guitar Care System, the 50th Anniversary Gold Nylon Pick and Ultex Thumbpicks.

Roland announced the Eric Johnson Blues Cube Tone Capsule, a user-installable voicing circuit for the Blues Cube guitar amplifier series. It changes the sound and response characteristics of the Blues Cube amps to provide custom voicings tuned and approved by the legendary Eric Johnson himself. “I’ve spent years finding amplifiers to suit my tonal quest and discerning criteria to get my sound,” Eric says. “I’m excited to work with Roland to create many aspects and persona of that sound in a more compact, tangible, and affordable version for all kinds of players.”

The BOSS ES-8 Effects Switching System (pictured) is an advanced audio command center for pedalboards featuring eight

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THE 2015 NAMM SHOW audio loops, flexible routing options, MIDI, amp channel switching and much more. There was also the VE-1 Vocal Echo offering studio-quality ambience control for vocalists; the BB-1X Bass Driver which can drive a bass amp or go to a mixing console; and the impressive MX-1 Mix Performer, an 18-channel performance mixer with step-sequenceed FX, transport and tempo control. And the JD-Xi Synthesizer is a powerful compact synth with onboard pattern sequencer and vocal effects.

YAMAHA Pacifica

also displayed Fear Factory guitarist Dino Cazares’ Retribution humbuckers for 7 and 8-string, a Dave Murrary Loaded Pickguard for Stratocaster with the same pickups used by the Iron Maiden legend, and a new set which combines P-Rails pickups (which have single coil, P-90 and humbucker modes) with Triple Shot mounting rings that let you select the pickup’s various modes from switches right there on the ring. Previously you had to buy these separately.

A vintage CS-80 on display

AVID

IBANEZ

research into how far bracing, thickness, finish, and new seasoning processes like torrefaction, a wood roasting method, could enhance maple’s tone profile. “I wanted playing a maple guitar to be a more gratifying all-around experience,” he says. “I wanted a tone that was richer, more complex, with longer sustain, without giving up the linearity that I like about maple as a builder.” The newly redesigned 600 Series is available in the 614ce (Grand Auditorium), 616ce (Grand Symphony), 618ce (Grand Orchestra) and 656ce (12-String Grand Symphony).

FMIC (FENDER/JACKSON/ CHARVEL/EVH/GRETSCH)

Paul Stanley

Jackson Misha Mansoor

AVID launched Pro Tools I First, a new free version of Pro Tools that anyone can download, with 16 mono or stereo audio tracks, 16 instrument tracks and 16 MIDI tracks. They also of course launched Pro Tools 12, with new flexible licensing options from low-cost subscriptions to buying it outright. AVID also announced that it will now deliver new feature updates in smaller but faster release dates instead of the traditional 18 month wait between big updates. There’s also a new Eleven Effect Plug-In Bundle with 17 stomp box-modelled effects.

WYLDE AUDIO

After a relatively quiet electric guitar presence at recent NAMMs, Yamaha has really blasted things open by opening up the full Pacifica line-up internationally again, including the PAC510V with Seymour Duncan P-Rails. Yamaha also had a really fun display of vintage synths to commemorate 40 years of making synthesizers. Yamaha also introduced the drum and percussion industry’s first all-inone acoustic/electronic hybrid drum set packs. The DTX502 Hybrid Pack has a fivepiece Stage Custom Birch acoustic drum set with Yamaha 700 Series hardware, a DTX502 module, two acoustic drum triggers and two electronic drum pads: the TP70 (7” single zone) and the XP80 (8” 3-zone). The other packs are for drummers who already own an acoustic kit and they include all the electronic add-ons.

BLACKSTAR FLY 3 amp

Steve Vai’s blue floral Jem

EVH Gear

Ibanez offered up a few items inspired by their past this year, some with a few tweaks: the return of Paul Stanley’s PS line; Premium reissues of Steve Vai’s blue floral Jem and white Universe; several bass versions of the old Talman guitar; and a new mini-sized Tube Screamer overdrive pedal. They also showed off a new limited-edition Joe Satriani series of 50 guitars each with artwork by Joe himself, and prototype 7 and 8-string fanned-fret guitars with EMG humbuckers.

TAYLOR

Never thought we’d see the day: Zakk Wylde has parted ways with Gibson, Marshall and Jim Dunlop and has launched his own brand, Wylde Audio, starting with guitars and amps and later expanding to all sorts of guitar and audio accessories. The initial guitar models are the Odin, the VIking and the Warhammer, and they’ll be available later in the year.

I played Zakk’s Bullseye-pattern Odin and was pretty blown away by the comfortable neck, slinky action and rich harmonics.

And the Master 100 amp sounded pretty badass too.

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Blackstar now offer their award-winning HT-5R and HT Club 40 tube amps in limited edition red covering with vintagestyle basket weave fret cloth. They’ve also launched ID:Core BEAM, their first Bluetooth guitar amp which lets you wirelessly stream music to your amp and jam along - and includes two bass, two acoustic and two acoustic simulator voices as well as six electric guitar voices.

They also showed off their new FLY 3 amp, a teeny tiny little thing that sounds huge and is very affordable.

SEYMOUR DUNCAN Seymour Duncan’s pedal range continues to grow with the Vise Grip Compressor and the Studio Bass Compressor - each of which lets you blend in either the full dry sound or just the high or midrange frequencies of the dry sound - and Shape Shifter Tremolo Pedal with stereo inputs and outputs and a phase control. SD

Taylor Guitars announced the addition of the Expression System Baby pickup to its Baby Taylor Series. The Expression System Baby, or the ES-B, is based on Taylor’s patented behind-the-saddle pickup, the Expression System 2, which features three uniquely positioned and individually calibrated piezo sensors.

The sensors are placed in locations that allow more of the dynamic range of the acoustic sound to be captured than ever before, and it’s powered by an onboard preamp with volume and tone controls plus a built-in digital chromatic tuner.

The new models include the three-quartersize Dreadnought Baby Taylor, the Baby Taylor Mahogany, and the Taylor Swift Baby Taylor, along with the 15/16-scale Big Baby Taylor. Taylor also debuted their New 600 Series, incorporating changes based on Master Builder Andy Powers’

FMIC has been busy, launching a range of new Jackson Pro Series Dinky and X Series models, a Jackson signature model for Periphery’s Misha Mansoor with Bare Knuckle Juggernaut pickups available in HT6 (6-string) and HT-7 (7-string) versions. Gretsch updated its Professional Collection Hollow Body Brian Setzer guitars with TV Jones Brian Setzer signature pickups and cool two-tone finish options. Eddie Van Halen’s EVH brand launched the Wolfgang Special HT with a TonePros hard-tail bridge with stop tailpiece, as well as the EVH Stripe Series Star, modelled on one of Eddie’s most out-there axes from the early 80s.

Charvel had new models in the Pro-Mod series including two new San Dimas models (twin humbuckers with Floyd Rose, humbucker and single coil with hard-tail bridge), a Pro-Mod So-Cal Style 1 HH with two pickguard-mountedDuncans and a Floyd, and a new more affordable Warren DeMartini model available in two finishes.

Fender released new upgrades to their Geddy Lee and Steve Harris basses, HSS Stratocasters with ‘Shawbucker’ pickups created by noted pickup guru Tim Shaw, and new humbucker-loaded Standard Series Stratocasters and Telecasters. report and photos

BY PETER HODGSON

MIXDOWN #250 // FEBRUARY 2015 // PG.33

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Unleash Your Inner Rock God The Pumpkin Chord

WHAT’S THAT SOUND? Moog Modular Systems

There are few instruments out there that hold such an awe-inspiring presence like the Moog Modular system. Simply integrating one into your studio setup gave you instant nutty professor credentials as this looming device dominated the room and made it feel like something out of a 1970’s sci-fi epic. So did the sounds this system created. It was with some surprise and a whole lot of excitement that I discovered in this past month that Moog Music were bringing back the modular system in a number of varieties.

Many years ago Billy Corgan of The Smashing Pumpkins made an offhand joke in a guitar magazine that a particular chord that he was using heavily was called ‘The Pumpkin chord.’ Of course he was raked over the coals by an overly sensitive reader in a subsequent issue’s letter to the editors page for laying claim to a chord type that Jimi Hendrix had already used.

In a later interview (bare with me cos I’m a nerd for guitar mag trivia) Corgan mentioned the incident and how he was just kidding. I don’t think he was planning to trademark that particular set of notes and then issue infringement notices to anybody who plays Pumpkin chords without permission.

Anyway, the point is, this particular chord sounds really killer, it’s really simple to play, and sure, Hendrix did it too, but plenty of other people probably have as well. So it’s well worth exploring here, whether you’re a Pumpkins fan, a Jimi fan or whatever you’re into.

Here’s how to do it: Take your finger and place it at the 11th fret of the A string, sounding a G#. Now hit the open E and that G# at the same time. Bingo. Pumpkin chord. It has a definite psychedelic ring, since it’s an interval that you don’t often hear in a chord. And you can switch to the next string pair and play it there too: Open A string and 11th-fret C# on the D string. Or open D string and 11th-fret F# on the G string. (By the time you get to the G string you have to switch to the 12th fret because of how the guitar is tuned if you want to achieve the same intervallic relationship, which is well worth messing about with although it has a totally different vibe to the versions of the chord that use the lower strings - almost like a harpsichord or 12-string guitar). Check out Figure 1 for each of these chords.

And then the real fun comes in when you start to explore the notes around that 11th fret as well, creating shifting melodies. So for Figure 2 let’s use that

11th fret as a jumping-off point but really break out of Pumpkin Chord territory and see where we can go.

Now, what kind of tone can you use with this sort of stuff? That’s almost a whole other column. If you run through the first two bars of Figure 1 and repeat them over and over with a clean tone there’s a definite ‘acoustic Pumpkins’ vibe, and it sounds great on a nylon-string guitar.

Subtle ambient effects can set off some really nice harmonic events during the transitions between chords especially when you’re using a clean tone and playing notes that fit together as sweetly as these ones.

If you’re using a heavier tone, you can conjure up all sorts of sounds and textures depending on what type of gain you choose. You can go for a super-saturated, thick tone like our Pumpkins friend during the Siamese Dream era, and this tends to blur the distinction between the open note and the fretted one, creating a mammoth slab of power. You can use a vintage fuzz style effect to get something a lot more angular and King Crimsonesque to really play up the weirdness.

Or you can go for a more conservative overdrive level to let each note speak a little more and to really play up the detail of any shifting melodies you throw in there.

Do you have any of your own signature chords? Let us know about ‘em on one of Mixdown’s social media channels or email us at the mag. We’d love to hear about it.

BY PETER HODGSON

PG.34 // MIXDOWN #250 // FEBRUARY 2015

At first, this seemed like vicious internet rumour, but the official Moog site confirmed these details just before the 2015 NAMM show. This is sure to be a big hit for any synth nerds that attended the show this year and is set to become one of the most sought after synthesizers in current production.

The Big Picture

The whole concept of the Moog Modular system was that you could create all number of different signal paths from the system and so, create what was technically an endless array of different synthesizers from the one, enormous housing. With a number of different modular systems available after the initial release in 1964, Moog covered all bases including a compact system that could be lugged around in a suitcase and didn’t need a forklift in order to reposition it within a room. But, it was the larger, System 55 that so many people remember for not only it’s sound, but its grandeur and imposing presence within a studio or on a stage should one ever find its way there. The behemoth, the big boy in the Moog Modular range has not been forgotten in Moog’s re-release of these instruments some fifty years later, and for a cool US$35,000, you can get onto the waiting list to get your hands on one of your very own. I think I might have to wait a while before the PayPal account is happy enough for this purchase. I am not sure that this is going to be a big seller.

You will most likely not be able to find one on display at your local music shop to ‘try before you buy’. So, sadly most of us reading this may never get to lay our hands on the new System 55 Moog Modular.

Endless Possibilities

Having heard hours and hours of demo tracks produced from these new-era System 55 modular units, you can appreciate how they are being used to not only mimic the sounds of old, but also to create a grittier, more cutting edge sound that has modern music styles to be thankful for. The sequencer section in the System 55 is no doubt the backbone to the hypnotic arpeggios that the Moog

Modulars can deliver. The extensive array of oscillators, filters and envelopes that can be organised to work in any way you’d like them to. I was taken back to early Devo sound effects that were sitting alongside strings and pad sounds that would have had Vangelis licking his chops with glee. Then, for anyone who is considering scoring the soundtrack for some bad 1970’s style science fiction films that will probably end up going straight to the DVD discount bin, there are all too many amazing sounds to be created from the Moog Modular.

Yes, you can get your hands on a slightly cheaper option still. If you are like me and don’t really have a spare $40k lying about, then there is always the software option with Arturia still producing a very workable and very affordable Moog Modular plug-in. Sure, it doesn’t quite have the same imposing presence in your home studio, but for around $100 you can run a Moog Modular on your computer and get some surprisingly realistic sounds that are not too far from the original. Plus, you can run multiple instances of the plug-in should your creativity take you beyond the awesome capabilities of just a single Moog Modular system. As much as I would love to have a new System 55 with the optional keyboard and maybe a few additional mods, this isn’t likely to happen too soon, that said, even less likely is the possibility of me getting an original Moog Modular into my collection at this point. So, I will continue to enjoy the sound that we all have heard at some point or another, but I will simply have to continue doing so in software form, like many of you surely will too. For any of you with a penchant for 1970’s synth driven soundtracks, and those of you who simply love to create new sounds that defy the norm, I can highly recommend looking into Arturia’s offering of the Moog Modular as it gets you most of the way there and is a lot simpler to use than the real thing as you have the benefit of patch memory and digital recall. If only that was available on the original units back in the 60’s.

BY ROB GEE

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BANGING THE TUBS Gone Soft?

Now here’s a discussion I’ve had many times. Regardless of whether it’s with colleagues or students, the conclusions to this discussion are usually mixed. The drums are designed to be loud. No doubt about it. Projection and volume are an essential part of any drum on a kit. Look through a drum magazine and you’ll see photos of drummers swinging the sticks from above their head with an angry look on their face. You need to harden up to bust out a groove properly right?

Turn Down

Here’s an inevitable scenario. Any drummer that has played at a bar or in the dinner set at a wedding will undoubtedly have encountered the request to “turn down”. Often this is an annoyance for the drummer. Not many players like playing softly, but does playing softer actually make you soft as a drummer? It may seem like a silly question, but there’s a stigma attached to drumming that suggests the drums have to be hit loud to be cool. On top of that, there’s a general assumption that the drums are just going to be loud, and that the player isn’t able to moderate the volume output.

Is all music loud? Of course not, but how much focus and energy should a drummer put into being able to play softer? Again, the answer to that question will vary from player to player, but for me, I had to practice it, and not necessarily because I really wanted to. I just encountered so many situations where I was playing too loudly, and simply put, I had to learn to deal with it. These situations date back to my university days. I’d do a performance and my teacher would give me feedback.

Amongst the array of suggestions was almost always something that related to volume. I was too loud overall, or my snare too loud compared to the rest of the kit. Over time, I developed the ability to turn down the volume when I needed to.

The key was to still maintain the groove and feel for the music, just at a softer dynamic. This was a big challenge.

Style Matters

Over the years, I’ve played a variety of gigs in a variety of genres and styles. Every one of them has moments where playing soft was essential. I also accepted the fact that within a groove, there are subtleties and lower volume/impact strokes that require

some finesse to execute well.

It’s also important to remember at this point that styles of music that a usually perceived to be loud can have softer parts and vice versa. I look at videos of Buddy Rich playing jazz and he’s not exactly holding back. Ever played a breakdown in a Metal tune? I listened to approximately three minutes of soft and subdued intro on the latest Machine Head album. I wouldn’t call Dave McClain soft though.

The point here is that in reality, soft and loud actually go together like peas and carrots in all genres.

Who You Calling Soft?

But back to the original question – does playing soft, make you soft? No. I’ve also heard drummers that can groove their arses off while playing soft. There’s still pocket, feel and energy. Playing soft is a necessity that needs to happen from time to time. Surely, there’s no harm in being good at it is there? Can you be good at both? Yes, you can, in fact you need to be.

If you play really loud all the time, as I’ve already mentioned, you’re probably not going to be as accomplished at playing soft. It’s an unnatural and uncomfortable feeling. But this works the other way too.

A challenge I face now is not being able to hit as hard as I used to because I’m so much more competent with playing softer.

Realistically though, you’re only good at what you work on or what you do all the time. I believe there needs to be the balance and it’s this balance that needs to be emphasised with students from an early age. The importance of dynamics in a drummers repertoire shouldn’t be underestimated. Playing soft doesn’t make you soft. It’ll make you a more versatile player.

BY ADRIAN VIOLI

PG.36 // MIXDOWN #250 // FEBRUARY 2015

ON THE DOWNLOW David Ellefson

Megadeth’s David Ellefson has seen it all. As one of the cornerstone bassists of the thrash movement he helped to create a style of playing that simply didn’t exist before. He’s forever willing to share what he’s learned with the world, through his books, bass clinics and now spoken word. He’ll be hitting Australia in March for a spoken word tour billed as My Life With Deth, which is also the name of his latest book. I’ve used a few of his ideas for these columns in the past (particularly his way of heading off a chord change by one eighth note, which propels the song forward in a really cool way). I caught up with him recently to talk about all things Ellefson. I was particularly interested in how he developed his style.

So what can we expect from your Aussie tour?

Y’know, spoken word is a cool thing because it’s such a broad concept. You can tell stories, you can tell jokes, you can talk about music, you can talk about almost anything. I think for me, being one of the long-time ambassadors of Megadeth, the story will hook on a couple of things. One, most certainly, Megadeth stuff. Also because I wrote my autobiography, My Life With Deth, I think that provides a pretty cool opportunity to unfold a bigger-picture story of my own life as a bass player, as a man who has grown up with our fans over the years. I think one of the things we find with Megadeth is we are like our fans and our fans are like us. That’s the beauty of metal, and especially thrash metal. The only difference between us and the audience was we were on the stage and they were in the audience.

Other than that we think the same, we live the same, and my aim with the spoken word is that it isn’t just me doing all the talking, it’s that we also have a really cool period of Q&A. Especially when I do my bass clinics there’s a large portion of that. I love the times when I get to listen to the audience speak. That makes it engaging, and I love to be interactive with the audience and have them be part of the process, especially in light of all the things that have been going on in this last year. The timing of the tour is maybe a little bit… I may live to regret it, I dunno! [Laughs].

You developed a distinctive bass style at a time when no-one quite knew how to be a metal bass player, especially in terms of thrash. How did you pull that all together?

Well y’know, for me, I grew up on a farm in a very rural part of the United States, in Minnesota. The music bug came on me, it lit me up, I felt alive and like I had a purpose, so I looked for every opportunity and every person I could play with. I would play with the church acoustic guitar player, I’d play with the third-grade band teacher. I was 12 and getting asked to join bands with guys who were 16 years old and knew every Lynyrd Skynyrd song. Then there came a time when I was in my mid-teen years where I was playing in a jazz band in high school and listening to Jaco Pastorius, Weather Report, Spyro Gyra, Al DiMeola. Largely,

I went well out of the school of rock and roll to develop my skills. By the time I was 18 I had graduated high school, moved to California and met Dave. Certainly by this time Iron Maiden had come out and Steve Harris had really opened my eyes to what a bass player could do. I knew of bass players who were singers and songwriters like Geddy Lee and Gene Simmons, but for Steve to be the bass player and a songwriter but not a singer was very intriguing to me. I liked it because I was never a good lead singer. I sang backups in a few bands. I sang lead a little as a kid but I never had a good lead vocal voice. But I’m the Michael Anthony, a good back-up singer guy, y’know? Like the harmony in “Peace Sells,” that was me going for that. I jumped on what I call the Michael Anthony harmony, the high third and fifth.

That’s just where I go when I’m singing harmonies usually.

When I met Dave Mustaine, especially that first year in ’83, we lived in Hollywood right by the Musicians Institute. We were very influenced by this school and the students that were there. There was one guy we’d jam with, this guy Ed who would come over every day after school, and he was really big into Uli, and me and Dave loved the early Scorpions stuff. It really developed how progressive Megadeth’s early music was. We took it to a whole other level of complexity.

So all those years of growing up playing all these different types of music, playing in the jazz band and stuff, all those experiences were able to be brought together and harnessed basically to a blank canvas called Megadeth where we created this sound and style. My answer when people ask me what they should do as a musician is they should play with as many musicians as they can.

BY PETER HODGSON David Ellefson will be in Australia in March for his My Life With Deth Tour. For more information visit www.davidellefson.

TOUR DATES March 24 – Civic Hotel, Perth WA March 26 – Factory Theatre, Sydney NSW com

March 27 – Prince Bandroom, Melbourne VIC March 28 – The Hifi, Brisbane QLD March 29 – The Gov, Adelaide SA

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The Future Is Here, Yet Again

Yes, it’s that time of year when the NAMM show goes off in Anaheim and Musikmesse in Frankfurt is looming just around the corner.

These are the two big trade shows on the calendar where retailers, distributors and manufacturers all come together to run up enormous bar tabs, justify a trip half way around the world and of course showcase all the latest product on the market. But what does this mean to the average consumer looking for DJ gear? New toys and creative gadgets are the first things to look out for, along with updated software packages and the promise of things to come if manufacturing can ever keep up with demand.

What’s On Offer?

With a range of new products being announced this week, many of you will surely be keen to get your hands on some of the new offerings. Korg announced what looks like a really cool idea with a new DJ controller that incorporates a KAOSS pad in the mix section and works with a further two pads in place of the traditional jog wheels. Aptly titled the KAOSS DJ, it is sure to get a look of interest being designed to integrate with Serato.

Numark unveiled their NS7III flagship DJ controller. This thing looks off the charts.

It almost reminds me of a helicopter cockpit, there is so much going on with it. It features three full colour LCD screens raised up on an angle across the top of the console and is going to be one controller I will need to check out.

One other unit definitely worth a mention is the all-in-one console from Pioneer that sees a mix of computer controller and stand-alone DJ hardware system presented in a very attractive package.

The XDJ-RX looks to be a real game changer in how the modern DJ operates as it removes the need for a computer’s operating system and works iOS, Android or a USB drive.

A Few New Toys

I was really taken aback when I came across the two new releases from Casio that are sure to get a few heads turning.

As a company that is well known for not only the classic calculator watches that were hugely popular in the 80’s, they have also given us a wide range of keyboards over the past forty or so years. Casio have created a range of synthesizers that stood the test of time too. But, they haven’t really given the DJ market a proper looking into until now. Sure, certain synth models of the past couple of years have been aimed at integration for DJ setups,

but now they are set to really cause a stir with their two new products, the XW-PD1 and the XW-DJ1. Both these units look somewhat like a famous ship from a film franchise that made one Wookie a household name, but that just adds to the boldness of what Casio have on offer.

Essentially these are two similar products, with one designed as a pad control system and the other as a disc style controller. Nicknamed the “Trackformers”, they also take on some design concepts form another, tech savvy film franchise that needs no mention here. With internal speakers and battery operation as a possibility, these two gadgets are going to change the way in which we shuffle through our music on our iPhones for ever. Capable of operating with both Mac and PC platforms with associated software, the Trackformer modules are really going to turn some eyebrows up when the iPhone mount is attached allowing the user to roam the room with all their sounds and control on one arm.

I can’t wait to see how these things perform, they look like a whole lot of fun and will surely get a lot of interest when readily available. They almost remind me of the old Soundberger portable record player from a bygone era, but with a more modern spin.

For now, I am just going to have to wait until I can get my hands on either of these systems to see what they are really capable of. Knowing how Casio have been developing their synths of late, I am sure there will be more packed into these systems than your realise. So, they go on my wish list for now. I’m really, really looking forward to 2015 and so should you!

BY ROB GEE

PG.38 // MIXDOWN #250 // FEBRUARY 2015

HOME STUDIO HINTS

The Pad, The Phone & Their Place In The Studio

I began home recording in an era when mobile phones were a littleunderstood contraption and far from the modern necessity that they are today. In fact, the fear of a mobile phone searching for a signal or worse, receiving an inboard call was so rife that it couldn’t be risked having one near any equipment when recording. The phone was best left off, or out of the room, or both.

It’s a very different situation today, and we see not only the modern smartphone being used in music production, but the introduction of its bigger brother, the tablet becoming a viable recording tool.

So, now that we have almost done away with mobile cell interference and we have portable devices that are more powerful than the computers I used to use, how can our phones and tablets broaden our horizons in the home studio, and abroad?

Soft Solutions

As more and more manufacturers begin to realise that there is great potential in portable devices as recording tools, we are starting to see the development of apps that are derived from fully fledged software DAWs. Native Instruments were quick off the mark in this regard with their version of Maschine for the iPhone creating a new wave of users that then expanded their pocket production to greater ideas. Now, you are able to get just about any of the major DAWs in an app form to allow you to work from your iPhone, iPad, or similar device. Although these apps give you the freedom to create in a portable manner, be aware that they are not allowing you the full potential that the computer software offers, and can never really do so as the device running them just does not have the power to do so. Many users coming from their computer platforms to a portable device will understand these limitations, but there are still plenty of people I come across that are discovering these recording programs by the app first. So, when you are looking for more power, additional features or higher quality recording, effects and conversion, consider moving from the app in your pocket to the full software upgrade on your computer.

Hardware

Obviously there is of course the ability to run these recording apps on your device with little more than the headphones you use for listening to music with and the on board microphone. But, if you want to get the most from your recording apps, you really need to consider how your audio is getting in and out of your mobile device.

This is where it gets a little tricky as there

are now more cables, leads, connectors and iOS interfaces available than anyone knows what to do with. So, where do you start when looking for a quality interface at an affordable price and what should be the things to look for? I think one needs to consider what they want from their recording app to begin with before rushing out to buy a device that might not meet their needs. If you simply want to record spoken word for reference, a simple microphone upgrade would more than suffice. If you just want to jam your guitar ideas with a modelling amp, then a breakout that allows a guitar lead to be plugged in at the correct impedance will take care of that. But, if you want a range of recording options, including using separate microphones that require a preamp, possibly even phantom power, and you want good quality analogue to digital conversion, then a decent breakout box style interface is going to be on your shopping list. There are a range of USB interfaces for PC and Mac these days that also support mobile devices. Devices like the Steinberg UR12 (as pictured) which I road tested in the last issue of Mixdown have a dual purpose and allow you to use them with both a computer and a mobile device. This is a really important factor to consider when looking for the right interface for your phone or tablet.

It means you can switch from one device to another and include your laptop or desktop computer in the mix as well. The beauty of this is you can work within the full DAW when you are at home, but you then have the freedom to take the app and interface with you to record just about anywhere, especially when you are wanting to work with field recordings for special effects.

So, don’t rush out and buy the first thing you find for making music with your mobile device. Also, don’t be tempted to just grab a cheap connection cable and expect it will improve your audio quality greatly. Treat your mobile device like you would any other computer you want to record with and give it the interface your recordings deserve.

BY ROB GEE

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M O N T H L Y

WHAT’S MY RANGE AGAIN? This Year’s Voice

Digitech Vocalist

As the dust settles after the NAMM conference in Anaheim this past month, we can be sure that there will be all sorts of new products heading our way in the following months. We have seen some great new releases this year in all areas, especially effects units, but this isn’t just limited to guitar effects pedals. No, there is a growing trend from manufacturers to meet the on-stage needs of singers, realizing that you, the vocalist, want to take control of your vocal effects as well. Let’s take a look at a few great new additions being presented at the NAMM show.

HEARING MORE

Digitech have been delivering vocal harmonizer units for many years now, with the Vocalist Live series delivering some amazing results in vocal harmonies that are automatically tuned to the appropriate key using the guitar signal as a reference.

These pedals have seen several stages of development since first being introduced some 6 or 7 years back with the new Live Harmony unit being the latest addition to the Vocalist range. What this pedal offers is two extra voices or harmonies to match up with you as you sing. Running the guitar through this unit allows it to detect the songs tempo, key and scale and work from there to match up effects and harmonies. You not only get great backing vocal from this, but you also get effects on your own voice with a great selection of delays, reverbs, compression and other special effects. It is almost like having two backing singers, with a quality channel strip and insert effects for your own voice.

SAY IT AGAIN

Many of you will be well aware of the wide range of effects and harmony pedals that TC Helicon offer for vocalists to work by themselves or with guitarists. I am sure a lot of you have seen or have even used the TC Electronic Ditto loop pedal, which has proven to be one of the most popular guitar loop pedals in the past 12 months. With that in mind, it’s easy to see why the TC Helicon range is getting some attention with their new offering that gives the singer something that guitarists have almost taken for granted in recent years. The Ditto Mic Looper allows the singer to now take control and bring vocal looping into the performance.

This is something that I am sure many of you have been waiting a long time for. It integrates into any live setup with an XLR in and out of the unit, so it can be easily added to the signal path at the base of the microphone stand, ready for the singer to take control. This unit doesn’t add any effects, or change the vocals as they pass

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through, it simply allows you to set the level of the loop signal and away you go.

Multiple overdubs are available and the last loop recorded is held in the unit’s memory even after powering off. This is going to change vocal performances forever.

ECHOES OF THE PAST

Boss have always been at the forefront of the effects pedal game and just as they did in the past, they continue to deliver great pedals for a wide range of uses. The release of the VE-1 shows that Boss are still committed to ensuring singers have their share of the pie too. This handy little unit is a vocal echo system that offers a range of ambient effects and brings character to your performance.

As well as a range of reverb and echo styled effects, the VE-1 is also capable of doubling up your sound so it delivers the appearance of two singers working in unison. What makes this a real standout unit is the way Boss have designed it to be a really portable option. It is not only lightweight and compact, but it runs on batteries if the situation so required.

There are very few pedals out there like this that can do so, with most chewing too much juice and needing a power supply. Further to this, you can connect the unit via USB to your computer and run direct in for recording through the VE-1.

These three pedals are but a taste of what is on offer this year in the world of vocal effects. Both Boss and TC Helicon have an extended range of products designed to work with the vocalist. There are plenty of others to consider as well. I got to try the Mooer MEP-VEM a number of months back with surprising results. Electro Harmonix always delivers something a little left of centre that is generally worth having a listen to as well. But of course, for all you Bon Jovi fans out there, you can’t go past the MXR talk box for the greatest vocal effect of all time… possibly.

BY rob gee

C O L U M N S

EDUCATION SPECIAL Tafe Queensland East Coast Diploma Of Music In Electronic Music Production

TAFE Queensland East Coast has introduced Australia’s very first Diploma specialising in Electronic Music Production. The cutting-edge diploma was introduced as growth of these popular genres is booming all over Australia, leading to genuine employment outcomes. Electronic music production is about making music from the ground up and with expert tuition at TAFE Queensland East Coast graduates could be writing music for cinema, advertising, television, professional sound production, studio production, DJ opportunities and more. Tafe Queensland East Coast gives us a preview of what this course is all about.

What can students expect to learn from the course?

The course will outline the fundamentals of electronic music production including drum programming, bass lines, synthesisers, pads, automation, effects, mixing and compositional structure and move into complex elements of synthesis, writing for the screen and performing live. Alongside these core studio elements, students will learn key elements of music theory and aural studies.

Tell us about some of the key course learning modules?

Working intensely with Logic Pro X students learn about the full studio experience.

From deep synth programming to complex MIDI composition, mixing and effects and mastering, the entire creative process is captured in the classroom environment.

The course will lead students through the compositional journey from the very beginning through to the completion of a catalogue of students own works.

What are some of the facilities students will have access to?

Students will be working on iMacs with Logic Pro X and Ableton Live software along with a suite of midi controllers and support software. The full range of TAFE Queensland East Coast facilities, instruments and studios will also be made available to students.

Who is on the teaching roster and what experience do they have in electronic music production?

Ben Rynderman will be leading the course in 2015. Having had a long and successful international career in electronic music (and still performing under his stage name Benza) and with a Bachelor of Music, he brings to the course a wealth of studio, live and touring experience along with a very deep base of musical knowledge. Ben has been teaching for several years now, having previously delivered courses in Melbourne and Queensland.

What is this course’s point of difference in comparison to other EMP courses available?

As the only course of its kind on the Sunshine Coast, and the only Diploma of Music in Australia that focuses exclusively

on Electronic Music Production, students have a unique opportunity to gather some exceptional skills.

Is there any online course availabilities?

At this stage, the course is delivered in the class room giving students access to facilities, technology and equipment specifically related to this course.

Are there student collaboration opportunities?

Students will be encouraged to work together on composition and live performance; there’s always something to be gained from collaboration!

Is there any government funding available to students to participate in the course?

VET Fee Help is available for all eligible students to apply for. For more information on VET Fee Help visit tafeeastcoast.edu.au.

Tell us more about TAFE Queensland East Coast.

TAFE Queensland East Coast has been delivering training in music, music business and sound production for over ten years producing many successful graduates who are achieving success locally, nationally and internationally.

A snapshot of graduates includes an impressive array of working professionals such as Taylor Moss, Owen Van Larkins (Van Larkins), Ayla Scanlan (AYLA), Jade Frieser (Agnes J Walker), Kate O’Malley Jones, Cohan Brew, Andrew Kirwin, David Dean and Elliott Heinrich. They have undertaken courses as varied as: • Diploma Music • Diploma Music Business • Diploma Sound Production • Bachelor Music • Phil Emmanuel Guitar Master Class • Certificate III in Music Business

For more information about the Diploma of Music in Electronic Music Production contact course enquiries on 1300 656 188 or email teacher Ben Rynderman at ben.rynderman@tafe.qld.edu.au

MIXDOWN #250 // FEBRUARY 2015 // PG.39

ROAD TESTS SPECS

Proel WD10A Active Stage Monitor Amber Technology | 1800 251 367 | www.ambertech.com.au | RRP: $569

I have always been a fan of Proel audio products. They don’t necessarily have the flashy marketing campaigns of some other big brands, nor do they always offer the biggest list of options with their products. No, this is a company that simply delivers quality products and proven results in a quiet and unimposing manner. So, you know that when you get your hands on a Proel product, it is going to be fit for the purpose and not just for the flash.

LOW PROFILE

There are many powered boxes out there designed as a front of house speaker that offer an angled side panel to allow them to be tilted back for use as a monitor speaker. But, when all is said and done, their main purpose is not to be operated on the floor and so they just don’t do the job right. This is where the Proel WD10A steps

in. This is a speaker designed with the reverse thinking. Its primary function is as a floor monitor speaker, but it still includes a pole mount option so you can actually use it as a front of house speaker for a smaller system should you wish. Because the primary design is for use as a floor monitor, it sits down with a low profile to keep out of sight as best as possible. At the

same time, it delivers its audio up at such an angle that you can stand right over it and still comfortably here it, without the need to stand back, like many other speakers require.

IN THE ROUNDS

Where the WD10A differs from a lot of other stage monitors is in its coaxial speaker design. With both the high and low frequency drivers built within one another, this monitor delivers a fast transient response and a spectacular wave alignment that means you get a clear picture of what you are hearing up close and at about any angle.

Designed to deliver high sound pressure levels, the WD10A really revels at high volumes and doesn’t sound like it is fatiguing when pushed. And this is just what you should be looking for in a monitor speaker. You don’t need a massive speaker that delivers loads of bass, because this will more than likely just cause unwanted feedback.

Clarity and volume are essential in a monitor speaker and that is what Proel have set out to deliver with the WD10A.

BY ROB GEE

• System type: 2-way coaxial vented • Angular Coverage: 80° • Frequency Response: 60 Hz 20 kHz • Max SPL at 1mt (peak): 123 dB • Input Impedance: 30 kohm balanced / 15 kohm unbalanced • Controls: LEVEL, PRESET selector (MONITOR, FOH), GND lift • Connectors: INPUT: COMBO (XLR-F/JACK) - LINK: XLR-M • Maximum Consumption: 315 W • Rated Consumption*: 165 W • Construction: Plywood with black anti-scratch polyurethane paint • Weight: 11 kg • Dimensions (W x H x D): 480mm x 300mm x 420mm

HITS • Compact design and low profile setup • Able to operate on pole mounts for FOH setups • Sounds clear and crisp at high operating volumes

MISSES • May not suit everyone’s needs for a ‘do everything’ powered speaker

LAG T500DCE Tramontane Stage 500 Acoustic Guitar Australasian Music Supplies | (03) 9549 1500 | www.austmusic.com.au | RRP: $1179

French guitar makers LAG have been building instruments for many a year. However, only recently have they been hitting Aussie shores. With a range of electrics and acoustics, LAG have some cool dark styling features and attractive qualities that make them more interesting than just any old European guitar builder.

L TO THE A TO THE G

Tramontane has references to the strong, dry French northern wind and reflects nicely to their breezy and flowing logo. Coming from the 500 Stage Series the T500DCE is a semi acoustic dreadnaught guitar with a solid Sitka top, rosewood back and sides and a mahogany neck with ebony fingerboard. As I’ve seen on some previous models LAG definitely seem partial to darker stylings and features on their instruments. In this instance we see an Indian rosewood and maple sound hole rosette and Occitan cross (coming from the ‘Occitan’ romance language spoken in southern France), ebony bridge and black satin machine heads with satin black tulip buttons and a neck

without inlays or markers on the fingerboard – very understated and cool. The T500DCE comes in a high gloss finish (with a satin finish neck) and overall looks a treat. Natural and rootsy with some almost gothic touches which may in turn catch the eye of a few more punters.

DON’T DREAD THE NAUGHT

Bright and clear the T500DCE has a nice balance of tops and bottom end that lends itself to big open chord strumming and modern sounds. Ditch the pick for some finger style action and you’ll be pleasantly surprised as the guitar responds to your touch with decent volume acoustically. Of course you also have the option of plugging in with the Shadow nanoflex pickup and StudioLagPlus preamp which

PG.40 // MIXDOWN #250 // FEBRUARY 2015

SPECS has plenty of tonal control and a built in tuner. Whilst not as harmonically rich as some pricier instruments that use super level tone woods, the T500DCE sounds pleasant and full, be it strumming out with a singer, picking some bluesy lines, or channelling your inner rootsy guitar god with exotic voicings and open string zing.

MERCI BEAUCOUP

As mentioned earlier, I really like LAG’s stylings and themes.

It makes them that little bit

different and identifiable, which is great in an ever increasing market. Don’t think this is to make up for a lack of substance though. They’re still building solid instruments at decent prices and their list of users worldwide is ever increasing. For a glossy dreadnaught that feels comfortable, plays well, and suits a range of the styles add the LAG T500DCE to your list.

BY NICK BROWN

• Top: Solid Sitka spruce • Fingerboard and bridge: Ebony • Back and sides: Rosewood • Studio LAG Plus preamp • 5 preset analog EQ switch

HITS • Dark features and stylings • Pickup and preamp system

MISSES • Some strummers may get lost without fret markers

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ROAT TESTS

Gibson Les Paul Deluxe 2015 WR Gibson AMI | (03) 8696 4600 | www.gibsonami.com.au | RRP: $4299

Gibson have marked 2015 with a fresh batch of guitars and some funky Gold cases to add a little pizazz to their line up. More than just reissuing the same guitar, Gibson have changed things up a little with this Deluxe which sports a new designed nut, wider neck and added pickup switching.

“BLACK FINGERNAILS, RED WINE!” This guitar is available in four colours. I’ve caught the Wine Red 2015 LP Deluxe for this review and it looks a treat. A glossy

and rich colour it also features those darker, black patches with a hint of grain peeking through. maple top, mahogany back and a mahogany neck make for a solid axe. Gibson have employed their

weight relief technology (9 holes in this instance) bringing the average weight of each LP Deluxe to around 2.63 kgs. Mini humbuckers are the pickups of choice and no there isn’t a knob missing. Instead Gibson has opted for Volume/Volume/Master tone and then a switch for splitting the mini buckers into single coils.

Take a look behind the headstock and you’ll also see Gibson’s G Force tuner giving you quick access to all sorts of tunings and auto tuning – although you can use just as normal too. The whole package comes in Gibson’s newly redesigned hard cases that come in Gold! Not the type of metal with a boiling point of 1064 degrees, but a funky retro sorta looking Gold hard case that feels built to last.

Pick up this Deluxe and you do get that weighty LP feeling, but the weight relief technology definitely does help and I found the guitar

VS CLASS

A delightful Vintage Sunburst, it’s got that deep brown woody gloss with darker hints towards the edges and neck pocket with just the right amount of wood grain showing through. The flat top is mahogany and the slim taper neck has a rosewood board. Available in cherry and yellow they’ve got the vintage looks covered.

Gibson Les Paul JR 2015 VS Gibson AMI | (03) 8696 4600 | www.gibsonami.com.au | RRP: $1699

There’s something so simple and straight forward about the Les Paul JR that has found it in the hands of rock, country and blues players for years and years. Like the other 2015 models, this LP JR has the super low action, wider neck, zero fret and G Force tuners, yet can also do the simple things as if you were smashing out tunes with Creedence or Tom Petty. Don’t forget that gold hard case. Tough and solid and much more usable (for me) than a beautifully sculpted and adorned shaped hard case with leather handles and embossing that in reality is only going to get beaten up when loading in and out of gigs, vans and rehearsals – cool!

Gibson Les Paul Standard 2015 H3 Gibson AMI | (03) 8696 4600 | www.gibsonami.com.au | RRP: $6499

What needs to be changed or added to the classic LP Standard you might ask?

I bet you’re not alone in pondering such a question, but you have to give it to Gibson for trying new things and adding variation to their specs. This 2015 number does have some departures from the more traditional models with its wider neck, zero fret adjustable nut and G Force tuning, but also retains the classic LP shape with this example a gorgeous ‘Heritage Cherry Sunburst Candy’.

Slightly lighter than the Deluxe at around 2.49 kgs, the Standard also features maple and mahogany as the woods of choice and comes in a gold coloured hard case.

THE STANDARD

I’m sure everyone’s seen or at least heard an LP in action from Led

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Zeppelin to Joe Bonamassa to Kiss to Guns N’ Roses. It’s typically thick and fat and great for rock and blues. It’s

THE SIMPLE THINGS

Plugged into a 60s Princeton, I found the LP JR to be chimey, tough and aggressive with the ability to smooth out a little when balancing the volume and tone controls. This P90 is marketed as ‘brighter and ore percussive’ and definitely has some nice edge to it. It’s great for bashing out open chords and rootsy licks further up the neck. The wider fret board is noticeable, but for me it didn’t feel like it was getting in the way and the good intonation and ability to bend and use open strings

come in many incarnations over the years. This 2015 Standard would have to be one of the fastest necks I’ve played, great for shredders or those preferring lighting low action. Gibson have pushed the fact that these guitars have improved specs in that aspect with lower frets, improved plekking and intonation and their patent applied for brass ‘Zero fret’ rather than a standard nut helping with this silky smooth and low action considerably. If anything the wider neck (with same string spacing) gives you something to hold onto but is offset with the super low action making it easy to play for chords, single note lines, bends and whatever else you’ve got in your trick bag.

PUSH PULL

Gibson have gone for their own Rhythm and Lead BurstBucker Pro humbuckers with Alnico 5 magnets in this guitar. As standard, these pickups are clear and punchy with lots of room to sweep from rounded

to be more than manageable. Yes, the neck is wider, but it’s still a nice rounded feel that lets you get around the guitar and won’t feel overly chunky. No problems smashing out barre chords, upper octave runs or relaxed open chord picking if that’s more your style.

Plugged in, the Deluxe really rocks.

The mini humbuckers give you fat, clear neck tones and you can then flick to the neck pickup for edgier sounds. Splitting the pickups allows extra tonal variation that can do more single coil-ish tones if you want to get some twangier, funky, country, indie vibes in your tonal palette.

PLUSH

New design features definitely make this 2015 Deluxe a different guitar.

The wider neck and 3 controls and coil split setup might take some getting used to but the Wine Red

with higher voicing without cringing over my tuning really helped.

MAY THE FORCE BE WITH YOU

I’ve read some mixed opinions on the G Force system, and I understand that traditional guys aren’t typically going to be on board with the new changes.

That said, the Auto Tuning functions worked well while I was playing with them and seemed pretty darn accurate.

It’s amazing to flick a button, hit a string and watch the motorised tuners do their thing. Could be a great tool for those using several different tunings and it is relatively inconspicuous.

BACK TO THE FUTURE

Whilst the JR doesn’t always get as much exposure as its bigger brother, it’s a fun guitar to play that really has a nice spot to sit in the tonal palate of guitars. This 2015 model can be straight ahead with its single P90.

Tone and volume controls make it a

vintage sounds to brighter tones.

Added capabilities are on board also now thanks to the push/pull pots giving you coil tapping with the volume pots, and phase changing and pure bypass on the tone pots. Never fear, you can still get those classic LP tones, you just also get a bigger range of single coil sounds too.

LES IS MORE

Bells and whistles aside, I really like this 2015 Standard. The Heritage Cherry Sunburst Candy finish is beautiful and I have to mention the candy cherry back with some serious sparkle in it. Obviously more hidden than the top of the guitar it adds something new and hip that really works and fits with the overall colour scheme. Playing wise, she’s a sleek and fast machine that still feels classic rock. Right there you’ve got a solid LP. Then factor in the new additions (whether you like or use them or not) and it’s a guitar that Gibson have tried to make

colour looks beautiful and the overall guitar finish seems of a very good standard.

BY NICK BROWN

SPECS • Neck: Mahogany • Top: Maple • Bottom: Low Denisity Mahogany • Width at Nut: 46 mms • Finger Board: Rosewood

HITS • Great finish • Well weighted • Awesome tone • G Force Tunes is killer

MISSES • Wider neck may be less comfortable for some players

great rock and blues guitar or slightly more futuristic when flipping between tunings on the G Force. Either way it’s a nice playing axe with plenty of tone for a little guy.

BY NICK BROWN

SPECS • Neck: Mahogany • Body: Mahogany • Width at Nut: 46 mms • Finger Board: Rosewood • Pickups: Single P–90 Dogear Alnico Slug Pickup

HITS • Gotta love the P90 grunt • Beautiful classy finish

MISSES • Not as much tonal versatility as other Les Paul models

comfortable and usable in the first place with some added functionality.

Go the LP!

BY NICK BROWN

SPECS • Neck: Mahogany • Top: AA Grade Maple • Bottom: Ultra Low Denisity Mahogany • Width at Nut: 46 mms • Finger Board: Rosewood

HITS • Wider range of tones than previous models • Lighter and faster

MISSES • Feels slightly different to older models, traditionalists might dislike this

MIXDOWN #250 // FEBRUARY 2015 // PG.41

ROAD TESTS

Samson Meteorite USB Condenser Microphone

SPECS

Electric Factory | (03) 9474 1000 | www.elfa.com.au | RRP: $99

It has been a number of years since I first road tested the Meteor by Samson, and since then they have developed their products for a range of uses, including expanding their home recording options for all budgets.

So, it was with a familiar feeling when I unboxed the new Samson Meteorite USB microphone this month in order to give it a run. Given the similar name, I assumed it would just be a smaller version of the old model, but there were a few more differences than that.

SOMETHING DIFFERENT

So, it didn’t take me long to work out that the Meteorite is a really different concept in USB microphone design. Sure, the basic concept is there, this is a USB powered condenser microphone that requires no additional preamp or A/D converter. You simply plug it in and once it is ready to go with your computer, it acts as a recording input. But, this one has

a number of differences to many other USB microphones available on the market, not discounting its bigger brother, the Meteor. So, the Meteorite microphone is just that; a microphone. You don’t get a built in audio interface of any sort, so there is no monitoring available through the device.

There are no gain controls; you simply control it from your software input level. There isn’t anything really going on externally

except for a small chrome ball that rests in a rather neat little cradle.

That said, the plastic case and thin USB cable that terminates from within the housing are not that rugged. It almost felt like a bit of a toy, with the build quality on an otherwise funky design. But overall what it offers is a bargain.

A BALL OF FUN

So, at about the size of a golf ball, with a compact concaved magnetic cradle to rest in, this microphone really does change the way in which you will look at USB audio recording. It will happily sit on any desk and can be angled and positioned to face any direction for your desired sound source. You can even pick

DG400BB

it up and cup it in the palm of your hands like one would with a harmonica microphone, but you need to be careful of both handling noise and inception of feedback when doing this. Sitting in its cradle, it allows you to use it for vocal and instrument work as a somewhat rudimentary device for improving your audio capture when songwriting or recording podcasts. It’s stupidly easy to set up and even easier to integrate into even the most compact of workspaces. As a microphone for travelling with when space and weight limits are important, this is going to be a great option, so long as it is cared for in transit.

• Type: 14mm diaphragm condenser microphone • Pick up Pattern: CARDIO PICKUP PATTERN • Resolution: 16-bit, 44.1/48kHz • Ipad and USB bus powered • Integrated USB Cable

HITS • Compact and lightweight • Easy to install and operate • Funky design that will change your thoughts on USB microphones • Clever cradle concept for almost limitless angles of recording

MISSES • Basic build quality • Complete lack of physical controls

BY ROB GEE

DG200B

HA300

Hercules Stands Essential Add-Ons Electric Factory | (03) 9474 1000 | www.elfa.com.au | RRP: $99.95 (DG400BB), $36.95 (DG200B), $49.95 (HA300)

Hercules Stands really stand out from the crowd for a couple of reasons. The first is the bright yellow components that they all use in addition to the black frame. The other reason they stand out is because of their sometimes radical designs that deliver a sturdy, safe and reliable cradle for your instrument and equipment. Now, Hercules is offering some essential stand options for the modern musician that works with a computer, a tablet, or even a smartphone.

DG400BB LAPTOP STAND

The DG400BB is fairly light, but it still has a good amount of weight to it, so you can rest assured that when your laptop rests atop of this stand, it has the required strength and support needed to keep itself upright. It folds down into a fairly compact and manageable size that shouldn’t pose any problems in transit. When set up,

you have the ability to adjust both the height and the angle with which your laptop sits at to best suit your needs. The arms that hold the computer have a rubber grip to reduce slipping and a small lip to ensure the laptop stays in place. It’s easy to set up, will fit in just about any laptop case within its supplied pouch and can be set up under and behind a mixer or similar device with the arms reaching

PG.42 // MIXDOWN #250 // FEBRUARY 2015

out over the top for prime placement of your computer.

DG200B SMARTPHONE HOLDER This is not a stand in itself, but an add-on for your existing stand whether it is a music stand, instrument stand or a piece of hardware on a drum kit or similar device. It is easily attached to just about any pole, both upright and horizontal within a certain width. Boom arms are just as manageable when extended on a slant or angle. The swivel style knuckle joint allows the device to be presented to the user from just about any angle of mounting that is required with your existing setup. The beauty of this device is that it is not

locked into working with just one brand of phone, as much as certain parties would like.

HA300 TABLET HOLDER

The bigger brother to the DG200B, this unit is designed to allow you to set up a table on stage mounted off of any existing stand. It has a slightly different mechanism, one that is designed with the added weight of a tablet in mind. The claws clamp in from either end to ensure you tablet is securely held in place when mounted by the HA300 and so you can use it without fear of damaging your device.

BY ROB GEE

HITS • Lightweight construction, but solid and tough build • Able to work with a range of devices, across a range of applications • Designed to meet the needs of gigging musicians and performers • Even the drummer can use them

MISSES • May not be as appealing because they do not have an “i” in the title

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ROAT TESTS

Alto Professional TX Series Powered Speakers Pro Audio Group Australia | (02) 9521 4844 | www.proaudiogroup.com.au RRP: CALL FOR PRICING

Alto Professional continues to deliver new products that go further in design and sound with every generation. Although a relatively young company in the audio market, they have certainly been able to expand their product range, refine it and improve on the products each and every year. It’s from this constant development process that we see the creation of the TX Series of powered PA speakers.

Much to my neighbour’s dismay, I had the great joy in bringing home three separate models from the TX range, and right in time for a summer barbeque too. I always knew there were perks to this job.

Let’s begin... So, with this new range of speakers at my disposal, the first thing to point out is that they all were able to be accommodated in the boot of my car, albeit with a little ‘Tetris’ style creativity. This takes care of the question about portability I guess. They are all fairly lightweight, even the TX15, the largest in the range, which posed no problems going in or

out of the car and was able to be carried up some stairs with another speaker at the same time without any real concern.

Across the board, they all share similar design aspects. There are handles on either side of the larger models, with the more compact TX8 only having a handle on the top surface, which all share as a common feature.

This, I found was very handy

TX8

This is the most compact speaker in the range and as the name suggests, it features an 8 inch low frequency driver. When you consider the cabinet design of this box and look at how much of the rear panel is angled, it is easy to see how the design team at Alto were thinking of this as mostly being used as a floor monitor speaker, and it makes sense too. It is compact enough to allow for a range of these to be set up across the front of a

TX12

I know many of you will agree with me when I say that this is the most usable speaker from the range. As is so often the case with any selection of powered PA speakers, the 12 inch driver seems to deliver the most workable audio reproduction.

This is, in my opinion, the best sounding speaker in the TX Series and so would be my choice for use with a small band, duo or solo performer. It delivers a very well rounded sound that

TX15

This speaker won’t necessarily suit everyone’s needs. It is, of course, the largest in the range as it features a 15 inch driver.

Because of this, it is slightly heavier and more cumbersome.

As I said before, I had no problem carrying these up some stairs with one hand. Still, I understand that there are a lot of musicians that are looking for a PA that fits within a certain size and weight range and often the cabinet needed to house a 15 inch driver is never going to

stage without intrusion and it delivers a bright, vibrant audio response. Although pole mounts are included, it doesn’t offer any extras on the input side, just an in and a through port on XLR connectors, so any control over the tone will have to come from the signal source. It can still be used for small vocal and acoustic guitar applications, but the lack of bottom end in these speakers will limit the use as a front of house speaker.

SPECS isn’t harsh when the volume is driven and projects a tight bottom end that is present but not beyond control. For those of you looking for an almost hi-fi sounding speaker that will work well for both vocals and instruments alike, this is an excellent powered box that doesn’t need to hide behind fancy features and over-baked claims of grandeur. The TX12 simply sounds good and doesn’t cost an arm and a leg.

meet those requirements.

However, this size driver and speaker is going to be a hit with those who are playing dance music and need some extra bottom end in the mix. For DJs who are looking for a portable PA system, this speaker is going to be right up your alley. It still delivers plenty of punch and a sharp high frequency response, but does so with a bigger bottom end than the TX12 could ever hope to achieve.

BY ROB GEE

www.mixdownmag.com.au

for moving them around when one hand was the only option.

All models are pole mountable and all feature bevelled edges on the rear for use on the floor at an angle should you so wish.

But, each definitely has its own sound and indeed, each serves a certain purpose better that the others.

• TX 8: 280-WATT 8-INCH 2-WAY ACTIVE LOUDSPEAKER 280 Watts peak / 140 Watts continuous power 8” LF woofer with 1.5” voice coil • TX 12 and TX15: 600-WATT 12-INCH 2-WAY ACTIVE LOUDSPEAKER • 600 Watts peak / 300 Watts continuous power • Efficient Class-D power amp, bi-amplified • 12” and 15” LF woofer with 2” voice coil • Balanced XLR Combo Mic/Line Input and Link Output • Precision electronic crossover • Onboard Contour control • Integrated analog limiter and overload protection circuitry • Lightweight, portable design • Integrated 36mm speaker pole socket • Main or wedge monitor operation • Dimensions (H x W x D): TX12: 607mm x 380mm x 337mm, TX15: 625mm x 386mm x 366mm • Net weight: TX12: 13.75kg, TX15: 14.89 kg

HITS • A range of speakers that meets a range of needs • Compact and portable • Easy to set up and pack down

MISSES • No great range of options for inputs without the use of a mixer

MIXDOWN #250 // FEBRUARY 2015 // PG.43

ROAD TESTS

Tokai Traditional Series Junior SG Jade Australia | 1800 144 120 | www.jadeuastralia.com.au | RRP: $699

We’ve seen a lot of Tokai guitars through the Mixdown office doors, and typically they’ve been great guitars at easy on the wallet prices.

This month we’re taking a look at Tokai’s take on the classic SG solid body electric guitar, a shape that’s instantly recognisable and has done the rounds on many a rock album. So slip on your tight black jeans, crank up your amp and let’s check it out.

CHERRY BABY

Out of the case this Tokai SG looks quite the part. Classic Cherry stain in colour with wood grain underneath with a black scratch plate. The nato body and mahogany neck combine nicely for a well balanced guitar that is quite light and well finished. No marks or blemishes to be seen.

Under $1000, this SG looks great

and comes with a padded gig bag as part of the equation.

ACTION

Many players love the elongated feel of the SG and this Tokai guitar should satisfy that ideal.

Intonation and action seemed good and there were no problems playing in first position or right up the neck with the increased access of an SG obviously

helping. Either way you can belt out open chords AC/DC style and noodle all the way up the 22nd fret with relative ease when you want to flex your soloing chops.

ROCK?

Whilst mostly associated with rock, the SG can handle a surprising range of tones, from cleaner blues and jazzier sounds to some brighter atmospheric and indie vibes. Classic SG controls of volume and tone for each pickup work well, letting you get some nice in between tones that can really add to the straight up rhythm or lead sound. Middle position with some extra bridge volume for instance, can take some of

the brightness off and add a little mid range thickness for fills and licks. Of course when it’s needed, those vintage rock tones are ready to go if you need to channel some 60s and 70s goodness.

SG = SO GOOD

A Tokai with perhaps a little more versatility then people realise. Plays well, looks right and at its price point it comes as great value. People will get hung up on where it’s made and exact specs, but for mine it’s another solid guitar form the Tokai range that’s worth a look if you’re in the SG market.

BY NICK BROWN

SPECS • Body: Nato • Neck: Maple Set Neck • Fingerboard: Rosewood • Width at Nut: 43 mm • Pick Ups: 2 x MK4 Vintage Style P90

HITS • Great clean finish • Versatile tone • Great value

MISSES • For the price and build quality, it’s hard to fault

OME Wizard Open Back Banjo Gladesville Guitar Factory | (02) 9817 2173 | www.guitarfactory.net | RRP: $3595

Until recently, and by recently I mean this week, I had not had the opportunity to get my hands on an OME banjo, but had always been interested in what they might be like. Unfortunately for us here in Australia, we do not have access to the greater variety of banjo brands that are readily available in the United States, so it is nice to see that this product is now being imported into this great country.

And, if the Wizard open-back model is anything to go by, watch out because we have a real contender.

FIRST IMPRESSIONS

Upon opening the wellappointed hard case, I was pleasantly surprised at a glance with what was on offer with the Wizard Open Back. This instrument looks stunning and feels just as good. The frets and neck felt amazing. With a slightly wider neck than most banjos I come across and a really nice, smooth finish, this made transitioning between chords feel comfortable right away.

If comfort in the left hand is important to you as a player, you will also love what you get with the right hand with your forearm resting on a beautifully handcarved wooden armrest. This was really nice. Unlike the sometimes

harsh edges that you can get on steel armrests, this was a delight to lean my forearm up against. It really helps with the strum-hand action too.

SPECS • Width at nut: 3.4cm • Rim: Flame Maple • Neck: Flame Maple • Scale: 64.8cm

LOOKS AND SOUND

A quick strum of the strings proved the banjo was out of tune when I first took it out of the case, yet it still sounded really rich and vibrant which was a sign of things to come when tuned. The big maple pot on this instrument really sings with chords and individual notes.

There are plenty of resonator banjos out there that do not offer as much projection or a richness of tone that the Wizard presents. So, it sounds great

PG.44 // MIXDOWN #250 // FEBRUARY 2015

HITS and it looks the part too. An “S” shaped frailing scoop in the ebony fret-board is a really nice touch that compliments the beautiful craftsmanship of this banjo. Its design is a combination of simplicity and showboating, if that makes any sense. All the hardware has a

tarnished look to it that offsets the cleanliness of the ebony fret-board and headstock. A real winner. A professional’s dream or a family heirloom.

• Fifth string raised nut and railway spikes for capo • Great look and feel • Huge, bold sound for an openback banjo • Classic pre-aged look that will continue to improve in looks

BY ROB GEE

MISSES • Slightly sharp fret edges

www.mixdownmag.com.au

ROAT TESTS

Model P-115 Model P-45

Yamaha P-Series Digital Pianos Yamaha Music Australia | (03) 9474 1000 | au.yamaha.com | RRP: CALL FOR PRICING

So, as you are all most likely aware by now, the NAMM show has just happened in Anaheim as this issue of Mixdown was being put together. Some of my fellow colleagues from various areas in the industry found themselves in California for the show. I was too busy here in Melbourne to even think of taking a quick trip overseas.

Fortunately for me, Yamaha Music Australia brought a little bit of this year’s NAMM show to me with the delivery of the prototypes for two new digital pianos from their ever popular P-Series.

Many of you will be aware of the P-Series and how it represents exceptional value in digital pianos. In more recent years, we have seen certain models in the P-Series open up the world of 88-note weighted keyboards to users at price points never even considered for this type of instrument. Now, the P-115 and P-45 models are almost ready for release, hopefully landing later this month. I got an early look at both of these models that will replace the P-105 and P-35 models respectively and was able to gain a little insight into the what the future holds for Yamaha.

P-115

This model represents the big win for those looking for a new digital piano. Although not greatly different from the earlier P-105 in looks and style, it boasts an all new piano sound that has been sampled from a Yamaha CFIIIS Concert Grand Piano. This is unlike any sound bank found in a digital piano of this price range and it’s the component that will have the P-115 stand out in the range. I guess I could tell you how ‘lively’ this piano sounds and how ‘warm’ and ‘realistic’ it is when compared to other piano sounds available in digital pianos, and yes, these adjectives are all true, but they don’t really do the P-115 any justice as the grand

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piano in this thing just defies description. You need to hear it.

As with all the models in the P-Series, both these models include newly designed built in speakers that fairly do justice to the piano sound it carries.

In a quiet room it sounds really nice, delivering the sound both through the top and through the underside of the unit, so it fills the acoustic space for a more natural representation of the sound. Then, plugged in to a really nice set of monitor speakers, this digital piano sounds incredible. The sound quality will no doubt translate well into recording too, so it can be a handy song writing tool in any studio and still be able to provide a recordable signal.

P-45

The P-45 isn’t as great a leap away from its predecessor as the P-115 is. Still, every couple of years manufacturers need to overhaul their entry level models, just to keep it fresh. The P-45 still represents great value in digital pianos, like the P-35 does and opens up the option of using a fully weighted 88-note hammer action keyboard to a lot of users that would otherwise not be able to afford such an instrument. I found the keyboard on this model to be somewhat similar to the P-35 in that is fell slightly behind its counterpart.

But, it is still a great feeling keyboard for the price tag. For anyone wanting to learn piano, not keyboard, and needs the feel of a graded hammer action on a budget, you are not going to know how the feel of this differs to a model that you are not using side by side. It still has a balanced feel right up the octave range, with a very light and delicate touch response on the very high notes, as one would expect of an acoustic piano.

It was sad to see the departure of the 5-pin DIN MIDI output on this model though. Now offered with a USB to host connection for running the P-45 into a computer, I guess this is just a sign of the times

when hardware synthesizers are not being connected on certain levels any more. That said, it brings the P-45 one step further into the future to keep up with other models on the market.

Though it doesn’t thrust us quite as far forward as the P-115 which now has remote control available through an iOS app, something that I am sure we will see getting extended to the entire range at some point in the future.

As is often the case with these upgrades to the P-Series from Yamaha, you don’t necessarily get a whole lot of surprises or ‘wow’ factor. That’s not the point. It’s more a matter of bringing each model forward to meet the demands of today’s growing musicians and ensure they are kept up to date. So, there are many of you that will want to upgrade from earlier P-Series models to these new ones and I am sure there will be plenty of first time Yamaha pianists that will relish in the sound and feel of both these digital pianos. Keep an eye out for the white versions too. They represent a real challenge in maintaining a clean surface, but really look the part if you are into a little flash in your instrument and studio.

BY ROB GEE

SPECS YAMAHA P-115 SPECS • Keyboard Type: 88 key Graded Hammer Standard weighted keyboard.

• Amplifier Output: 7W x 2 • Size: 1326mm x 163mm x 295mm • Weight: 11.8kg • Metronome: Yes

YAMAHA P-45 SPECS • Keyboard Type: 88 key Graded Hammer Standard weighted keyboard • Amplifier Output: 6W x 2 • Size: 1326mm x 154mm x 295mm • Weight: 11.5kg • Metronome: Yes

HITS • Incredible piano sound on board the P-115 • Improved rhythm section for more lively metronome features • They both look great in white – if you can keep them clean

MISSES • Not a lot of differences for existing P-Series owners considering upgrading • MIDI is not available in USB to host only

MIXDOWN #250 // FEBRUARY 2015 // PG.45

ROAD TESTS Kerope Medium

Zil-Bell Volcano Cup

ZILDJIAN NEW CYMBALS 2015

Constantinople Renaissance Ride

Australasian Music Supplies | (03) 9549 1500 | www.austmusic.com.au | RRP: CALL FOR PRICING

Zildjian, the cymbal giant we all know so well, have shown off their latest creations and I was lucky enough to get my hands on them for a sample as they launch down under!

20”/22” KEROPE MEDIUMS

Modelled directly off the hugely popular (and still fresh) Kerope line, Zildjian are supplying the 20” and 22” cymbals as ‘medium’ weights. Featuring the same raw look, the new Keropes have the same flatter type bells which, whilst not really pronounced or particularly loud, have an integrated sound that works when struck accurately. The new cymbals are louder and very balanced with an extremely musical wash, great stick definition and a simply gorgeous crash sound. These are killer cymbals for players wanting versatility in a cymbal.

7.5” ZIL-BELL VOLCANO CUP

The new Volcano Cup Zil-Bell gives you the same great bell effect sound as a regular ZilBell but the unique cup shape actually allows for a clearer playing surface and the ability to play the bell like a regular cymbal. You can use ride type patterns for example. I was able to approach the cymbal in a much less ‘one dimensional’ way.

20” CONSTANTINOPLE RENAISSANCE RIDE

The new Renaissance ride is very thin, with some classic trademark Constantinople hammerings and scorings. It features a super light wash with

a very accurate and delicate stick definition, making it perfect for Jazz. The bell however, is near flat, basically not there and probably designed to be an even shorter wash type sound in actual practice. It still sounds good but doesn’t stand out at all. The crash sound is a different story though. Loud, slightly trashy and incredibly sensitive to the touch, the crash sound alone will be enough to sell some players.

10”/12” FX SPIRAL STACKERS

The new spiral stackers are a great new thing that can be used in different ways. The cymbals themselves are ultra-thin and light in weight. Left hanging on their own, they spiral down and stretch out allowing for the player to almost treat them like vertical chimes. Alternatively, you can stack them on top of any other cymbal for a desired effect. They look awesome too, bouncing up and down as they’re played. The overall sound is incredibly trashy with a longer sustain than a China cymbal.

The thinner construction allows for a huge range of dynamics.

Be aware that if you want to hang them, you’ll need room!

Regardless, the Spiral stackers offer yet another option for the ever-creative drummer and they sound great.

PG.46 // MIXDOWN #250 // FEBRUARY 2015

8”/10” ORIENTAL CHINA TRASHES

It’s been a long time coming, but to answer the prayers of drummers who love the idea of smaller china cymbals Zildjian have provided the staple Oriental China Trash in 8” and 10” sizes. The two sizes have very distinct pitches and the 10” is significantly louder than the 8”, which behaves and sounds more ‘splash’ like. The 10” has a dirtier sound and is ultimately, more oriental. Both cymbals speak quickly with a musical tone and a short decay. These little babies would work well mounted on their own or stacked on other cymbals. They’re just cool.

Spiral Stacker

21” K CUSTOM ORGANIC RIDE

The new Organic ride features a wire brushed raw finish on top and a clean, un-lathed, brilliant finish underneath. Overall, it looks extraordinary. The sound is definitely dry but not completely lifeless. It’s a musical sound with just enough wash and lighter than expected too, which allows for a very useful and gorgeous crash sound. As a bonus, the Organic ride features a large and pronounced bell. It’s a welcomed thing being super clear and very loud. This alone makes this ride more versatile for a number of applications. In the studio or live, the Organic ride would cut it. It’s a nice thing.

Oriental China Trash

Custom Organic Ride

BY ADRIAN VIOLI

www.mixdownmag.com.au

C F Martin Guitars & Strings Proudly Distributed by Electric Factory Pty Ltd 188 Plenty Road Preston VIC 3072 martin@elfa.com.au www.elfa.com.au

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