Mixdown#245 September

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

ISSUE 245 SEPTEMBER 2014

FREE MIXDOWNMAG.COM.AU

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CONTENTS 6

NEWS & TOURS

12 THE INDUSTRIALIST 14 PRODUCT NEWS

FORE WORD

22 SOUNDGARDEN 24 DREAM THEATER CANNIBAL CORPSE 25 JOHNNY MARR

PAGE 39

26 PENNYWISE FRANK IERO 27 ESCAPE THE FATE 28 VANCE JOY MESA COSA 30 INTERPOL ANTHONY FANTANO

39 STUDIO SPECIAL

This month Mixdown’s front man and editor in chief Aleksei Plinte has shot off to the states and left the rest of the band running the show. We’ve done right by Captain Plinte and put together an issue jam packed with awesome interviews from Soundgarden’s Kim Thayil, Randy Bradbury from Pennywise and My Chemical Romance’s Frank Iero plus a stack more. There’s news on all the latest music and audio gear the biggest and best acts looking to drop records or hit our shores in the coming months.

Read on through our annual Studio Special we’ve reviewed absolute truck load of awesome gear, from mics to mixers, from software to studio monitoring. Plus since it’s a Studio Special we’ve put together some features on some of Australia’s most incredible recording studios including Damien Gerard , Three Phase and a Q&A with Grove Studios.

48 ROAD TESTED

PATRICK

32 THE GROVE STUDIOS JMC ACADEMY 34 UNLEASH YOUR INNER ROCK GOD WHAT’S THAT SOUND KEYS 35 WHAT’S MY RANGE AGAIN? 36 ON THE DOWNLOW BANGIN THE TUBS 38 (D)IGITAL (J)OCKEY HOME STUDIO HINTS

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MESA COSA

PENNYWISE

PAGE 28

PAGE 26

PUBLISHER Furst Media

COVER IMAGE Paul Lorkowski

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

CONTRIBUTORS Adrian Violi, Rob Gee, Peter Hodgson, Peter Vox, Christie Elizer, Augustus Welby, Julia Wyse, Michael Taylor, Michael Edney, Brent Hayhurst. Laclan Kanoniuk, Keats Mulligan

EDITORIAL COORDINATOR Matt Sprague & Keats Mulligan PRODUCTION MANAGER Michael Cusack

ADVERTISING Aleksei Plinte E: mixdown@beat.com.au Phone: (03) 8414 9704 GRAPHIC ARTIST Michael Cusack MIXDOWN OFFICE 3 Newton Street, Richmond VIC 3121.

Phone: (03) 9428 3600

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NEWS & TOURS FALLS FESTIVAL 2014/2015

SLIPKNOT

Hot on the heels of their inclusion as a headliner on the 2015 Soundwave line-up, Slipknot has announced the next phase of their uncompromising history - the release of .5: The Gray Chapter. Their fifth studio album, the album will be released in Australia on October 17th. Slipknot unleashed the first track from the album, ‘The Negative One’ earlier this month, marking the ground-breaking band’s first new music in more than six years. Slipknot has ruled live stages across the planet since beginning and currently headline tours and international festivals including Mayhem in the US, the UK’s Download Festival, Brazil’s Monsters of Rock and Rock In Rio, Australia’s Soundwave Festival,

and the bands own Ozzfest and Rockstar Energy Drink Mayhem Festival. 2012 saw the inaugural Knotfest draw over 45,000 fans to a pair of daylong festival events headlined and curated by the band and this year’s Knotfest will kick off their Prepare for Hell Tour across the US.

TOUR DATES Appearing on Soundwave Festival 2015, see Soundwavefestival.com for all the details

The first announcement for the annual Falls Festival is here, and what a cracking line-up it is. The line-up boasts a number of international acts who are set to make their way down under, including the likes of Alt-J, Röyksopp & Robyn, Cold War Kids and Glass Animals. The full line up includes: Alison Wonderland , Badbadnotgood, Big Freedia, The Black Lips, Bluejuice, Client Liaison, DMAs, George Ezra, Jagwar Ma, Jamie xx, Joey Bada$$, John Butler Trio, Kim Churchill, The Kite String Tangle, Milky Chance,

Movement, The Presets, Remi, Run The Jewels, Safia, Salt N Pepa, Sbtrkt (LIVE), Spiderbait, Sticky Fingers, The Temper Trap, Tensnake, Tkay Maidza, Todd Terje (LIVE), Tycho, Vance Joy, and Wolf Alice.

TOUR DATES December 28th - January 1 - Lorne, VIC December 29th - January 1 - Marion Bay, TAS December 30th - January 3 – Byron Bay, NSW

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NEWS & TOURS FESTIVAL OF THE SUN 2014

DMA’S

Following up from a huge Splendour in The Grass set in front of a heaving crowd in the GW McLennan Tent, DMA’s are back at it, announcing a National tour this September/October. Since signing with I OH YOU earlier this year, DMA’s have gone from strength to strength, gaining the recognition of many. Their debut single ‘Delete’ has sent shockwaves through the music sphere, with the band earning the branding as “the next big thing”. DMA’s are set to take their acclaimed live performances Australia wide, with special

guests The Creases coming along for the ride.

TOUR DATES September 25 - Mojo’s, Fremantle WA September 26 - Amplifier, Perth WA October 2 - The Brightside, Brisbane QLD October 3 - Oxford Art Factory, Sydney NSW October 10 - Rocket Bar, Adelaide SA October 11 - Northcote Social Club, Melbourne VIC

TY SEGALL

Ty Segall will undertake his biggest Australian tour to date this December – announcing Perth, Sydney, Melbourne, Byron Bay and Brisbane headline dates atop an appearance at the Meredith Music Festival. Ty first visited Australia on his Goodbye Bread chapter in 2011 – the crest of an eighteen month marathon on which he toured relentlessly and dropped four new records: his breakout solo releases Twins and Sleeper and the collaborative Hair and Slaughterhouse no less.

Joined by the full band line-up of bassist Mikal Cronin, guitarist Charlie Moothart and drummer Emily Epstein, the self-described “loud, gnarly,

Celebrating 10 years in existence, the Festival of the Sun line-up is here, and it will not disappoint all of you festival goers! The small boutique weekend camping festival has confirmed they’ll be celebrating a 10th birthday bash with a superhero theme, with the likes of Violent Soho, Shihad and The Jezabels all tearing up the stage. The full line-up includes: Allday, Dune Rats, Jackie Onassis, The Cairos, Apes, Steve Smyth, Goons Of Doom, The Lazys, The Stiffys,

Tora, Sons of The East, Tropical Zombie, Pelican Itch, Karl S. Williams, Tim Chaisson, Timberwolf, Chris Rose, Tegan Wiseman, I Oh You DJs + Triple J Unearthed winner (TBA).

TOUR DATES December 12 - 13 2014 – Sundowner Breakwall Tourist Park, Port Macquarie

NOFX

screaming” four-piece are world renowned for their devastating performances, topping twominute burners with distortion-fuelled epics in a live show that’s as far-reaching as Ty’s catalogue itself.

TOUR DATES December 11 - The Bakery, Perth WA December 14 - Corner Hotel, Melbourne VIC December 17 - Oxford Art Factory, Sydney NSW December 19 - The Zoo, Brisbane QLD December 20 - The Northern, Byron Bay NSW

Time to pull out those tattered jeans punk fans, NOFX are set to return to Australian shores this November with a run of nation wide shows. It has almost ticked over to four years since NOFX have last visited, and in that time we have seen their 12th studio record released, Self Entitled, which sees the band embrace their early hostile LA punk roots. Entering their third decade, NOFX have outlasted most in the fruitful punk scene, and today still have one of the largest cult followings in the industry. With 11 shows over 16 days, the band are set to take on regional shows,

JIMMY EAT WORLD

ANTHONY FANTANO

Jimmy Eat World are set to return to Australia and New Zealand this November in celebration of the ten year anniversary of their iconic album Futures’ release. The Australian and New Zealand leg of the tour immediately follows a massive run of US dates in commemoration of the pivotal album. The ‘Futures 10 Year Anniversary Tour’ will visit all Australian capital cities and sees the band performing their pivotal album from front to back. If the response to their last headline tour in 2011 and reaction from fans who were lucky enough to catch them earlier this year is

Acclaimed music nerd and pioneer of videoreviewing records, Anthony Fantano has added two extra dates to his first Australian tour.

Presented by APRA AMCOS, Fantano’s tour will see him hitting BIGSOUND, as well as two dedicated talks in both Melbourne and Sydney.

Known for his well informed opinions and engaging delivery, Fantano’s talks cover everything from the future, merits and subjectivity of album reviews, how context impacts musical taste, the commodification of indie, and classic albums.

Having garnered over 50 million views on his Youtube channel, Fantano has gained the respect from musicians, fans and professionals alike.

anything to go by, the demand for these shows are going to be through the roof!

TOUR DATES November 11 - Metro City, Perth WA November 12 - Thebarton Theatre, Adelaide SA November 15 - Uni Bar, Hobart TAS November 17 - Forum Theatre, Melbourne VIC November 20 - The Tivoli, Brisbane QLD November 22 - Enmore Theatre, Sydney NSW

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as well as the usual run of city shows. This tour is one not to miss. Make sure you catch NOFX on their 2014 Australian tour this spring.

TOUR DATES November 7 - Enmore Theatre, Sydney NSW November 14 - Thebarton Theatre, Adelaide SA November 15 - Metro City, Perth WA November 20 - Forum Theatre, Melbourne VIC November 21 - Forum Theatre, Melbourne VIC November 22 - Tivoli, Brisbane QLD

He’ll no doubt simultaneously stir your love and hatred for music criticism so be sure to get in quick to see ‘the internet’s busiest music nerd’ live and in the flesh.

TOUR DATES September 10-12 - Bigsound, Brisbane QLD September 14 - The Northcote Town Hall, Melbourne VIC (afternoon under 18 - JUST ANNOUNCED) September 14 - The Toff in Town, Melbourne VIC (SELLING FAST) September 16 - Paddington United Church, Sydney NSW (JUST ANNOUNCED) September 17 - APRA AMCOS HQ, Sydney NSW (SOLD OUT)

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NEWS & TOURS COLLARBONES

CLOUD NOTHINGS

Renowned for the sheer intensity, skill and volume of their cathartic live shows, Cloud Nothings will headline shows in Sydney, Melbourne and Brisbane in addition to an appearance at Meredith Music Festival, when visiting Australia with their new album, Here And Nowhere Else this December. Cloud Nothings’ beyond immediate alt-punk is at once nostalgic and groundbreaking – recalling the golden age of Buzzcocks, Blink-182 and Husker Dü yet featured among Hype Machine’s Most Blogged Artists of 2014. Resuming the magnetic relationship with Australian audiences, which would sell

out their prior club dates, Cloud Nothings’ highly anticipated live return follows scores of blistering shows across America, Europe and the UK – Pitchfork Music Festival and Primavera appearances among them.

TOUR DATES December 10 - Oxford Art Factory, Sydney NSW December 11 - Corner Hotel, Melbourne VIC December 14 - The Zoo, Brisbane QLD

Sydney based electronic duo Collarbones have premiered their brand new single ‘Turning’ via Vice/Noisey today. ‘Turning’ is the first track from Collarbones’ long-awaited third album Return, set for release in November 2014 through Two Bright Lakes / Remote Control Records. Return is the third album from Collarbones, following the 2012 release Die Young as well as the band’s AIR Award-winning debut album Iconography. New single ‘Turning’ sees Marcus Whale referencing ‘90s diva house in an unbridled tribute to joyful feelings of renewal. It’s an upfront and club-friendly taste of forthcoming album Return, which will feature

KING GIZZARD & THE LIZARD WIZARD

THE 1975

Time to get weird Australia, as King Gizzard and The Lizard Wizard are back for a National tour this August/ September. Showing no signs of slowing down soon, The Gizz have just returned from their maiden USA/ Canadian Tour, which included an appearance at Northside Festival and The Austin Psych Fest, as well as a 12 date club tour across the East Coast. Back on home soil with their fifth LP being prepared for release, King Gizzard and The Lizard Wizard are ready to bring their psychedelic, high energy performances across the nation. “The Gizzernaut” with support from THE MURLOCS on all East Coast dates. After this Sino-Australian tour, King Gizzard and The Lizard Wizard will head back to the US and Europe to support the release of their new album, which will include

Having only left the continent two weeks ago, The 1975 have already announced their plans to return to our Australian shores this January for a run of three massive headline shows. Coming off a huge Splendour in the Grass set, and four sold out sideshows, the Brit-rockers are clearly all the rage on Australian turf. Having played over 400 global shows in the last 18 months and put in countless miles on the road, The 1975 have seen crowds grow significantly throughout 2014. Fuelled by word of mouth buzz, their live shows continue to thrill whilst consistently confounding expectations. The 1975’s debut album, Self-titled, is out now via Sony Music Australia. A collection of memories,

shows with Mac DeMarco in New York and an appearance at the Iceland Airwaves Festival.

TOUR DATES August 22 - GoodGod, Sydney NSW August 23 - Newtown Social Club, Sydney NSW September 04 - The Great Northern, Byron Bay NSW September 05 - Alhambra, Brisbane QLD September 06 - Soundlounge, Gold Coast QLD September 17 - The Workers Club, Melbourne VIC September 18 - Ding Dong Lounge, Melbourne VIC September 19 - The Gasometer, Melbourne VIC September 20 - The Curtin Band Room, Melbourne VIC September 25 - Jive, Adelaide SA September 26 - The Bakery, Perth WA September 27 - Wave Rock Weekender, Hyden WA

ICEAGE AUSTRALIAN DEBUT TOUR

At long last, Copenhagen’s Iceage will bring their singular mix of punk, goth, hardcore, and (lately) country-tinged post-punk to Australia — playing free, debut shows in Sydney and Melbourne with VICE’s music channel Noisey (the Sydney show is part of Pistonhead’s series of events), plus a Brisbane gig at Brightside.

Since the release of their two full-length albums, New Brigade and You’re Nothing, the band has performed at many of the world’s major festivals — while finding the time to plunge themselves into various other projects,

including the metal band, SEJR (“victory” in Danish), Marching Church, and Vår. Iceage is Jakob Tvilling Pless (bass), Dan Kjær Nielsen (drums), Elias Bender Rønnenfelt (vocals/ guitar), and Johan Suurballe Wieth (guitar).

TOUR DATES September 17 - Goodgod Small Club, Sydney NSW September 18 - Hugs&Kisses, Melbourne VIC September 19 - Brightside, Brisbane QLD

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special guest spots and genre-defying tracks that will stay with you throughout the year and beyond. Collarbones will embark on a four date tour of Australia in August with special guests Black Vanilla.

TOUR DATES August 22 - Cats, Adelaide SA August 23 - Liberty Social Club, Melbourne VIC August 29 - Alhambra Lounge, Brisbane QLD August 30 - Goodgod Small Club, Sydney NSW

overheard conversations, and snapshots in time, The 1975’s eponymous debut album is a love letter to youth, played out in bold and brash technicolour. Having topped the UK album charts and sold out every headline show to date, The 1975 have cemented their status as Britain’s biggest new band.

TOUR DATES January 15 - Festival Hall, Melbourne, VIC January 17 - Hordern Pavilion, Sydney, NSW January 18 - The Tivoli, Brisbane, QLD

THE LEMONHEADS

US indie rock legends The Lemonheads should need little introduction, with the veteran band’s only constant member Evan Dando having spent so much time in this country over the last 25 years that he’s virtually an Australian citizen. In recent years The Lemonheads haven’t released any new original studio material since 2006’s self-titled effort, but of late Dando has been holed back up in the studio with the likes of founding member and early co-songwriter Ben Deily, and ex-bassist Juliana Hatfield. Alongside their appearance at Meredith Music Festival, this December they will

be playing alongside accomplished local acts Jen Cloher and Spookyland, bringing us new music mixed in with their classics - it promises to be a special affair for long-term fans and newcomers alike!

TOUR DATES December 9 - Corner Hotel, Melbourne VIC December 11 - Metro, Sydney NSW December 12 - The Zoo, Brisbane QLD

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THE INDUSTRIALIST MUSIC INDUSTRY NEWS WITH CHRISTIE ELIZER

For content submissions to this column please email to celi zer@netspace.net.au AUSTRALIA’S LIVE PERFORMANCE SECTOR WORTH $1.47B

Australia’s live performance sector posted a record $1.47 billion in revenue in 2013, according to Live Performance Australia (LPA)’s annual Ticket Attendance & Revenue Survey 2013. This was a 22% rise from 2012, which posted $1.205 billion. The survey showed that 17,926,626 tickets were sold for entertainment industry events through 2013 – a 10.2% rise on the 16.27 million tickets sold the year before.

The Contemporary Music sector remained the largest, generating 42.5% in revenue to $628.1 million – a 30.3% rise. Second was Musical Theatre which had a 13.1% of the revenue pie. The two jointly account for 55.6% of gross revenue and 46.6% of total attendance. NSW had the largest revenue and attendance in real sense, but per capita, Victoria and West Australia were the biggest revenue makers. LPA chief executive Evelyn Richardson told The Industrialist, “Consumer confidence has picked up again,” Richardson said. “That’s certainly reflected in the revenue numbers. We saw some flattening in the market in recent years, which was consistent in the sector’s retail.”

to launch new products to aim at the younger demographic. But in the last three years, the ARIAs were on Nine’s digital Go! channel. Last year it drew 337,000 viewers.

ARIA and Ten reckon that the excitement surrounding Sia, Iggy Azalea and 5 Seconds of Summer topping albums and singles charts abroad will bring fans back. It is believed these three acts are being wooed to appear at the awards. Another reason for the excitement is the amount of other Australian acts that hit #1 spot on the charts. These included Justice Crew, Sheppard, Jessica Mauboy, INXS, Taylor Henderson, Angus and Julia Stone and, the latest, Hilltop Hoods.

LIVE MUSIC OFFICE TO RESEARCH LIVE MUSIC CONTRIBUTION

The Sydney-based Live Music Office launched a new website at livemusicoffice.com.au. It will serve as a resource for the live music industry and the Government to see how music policies are helping the sector, as well as enabling venues and musicians to establish gigs and build audiences. Policy Director John Wardle said, “Cities such as Sydney, Wollongong, Adelaide and Melbourne have all developed live music strategies over the last year. They recognize that if venues and musicians are going to be a part of our community then we need to plan for their future”. The LMO teamed with the University of Tasmania to get a proper snapshot of the sector’s contribution. “There’s a lot of activity that flies under the radar and the economic and cultural value can be tricky to measure,” said head researcher Dr. David Carter. There’s a consumer survey at research. link.edu.au/641669.

NEW VENUE FOR INDEPENDENT MUSIC AWARDS

The ninth Carlton Dry Independent Music Awards will be held in a new venue on Wednesday October 8. It will be held at North Melbourne’s Historic Meat Market. It was held at Revolt in Kensington in the past three years.

The 250 judges are from media, blogs, radio, artists, management and the live sector.

FIVE NAMES ANNOUNCED FOR INAUGURAL STIGWOOD FELLOWSHIP

The first five recipients of South Australia’s Stigwood Fellowships have been chosen. They were singer/rapper TKay Maidza whose debut single ‘Brontosaurus’ got triple j airplay, Bad// Dreems who this year became the first SA act to be signed to Sydney-based Ivy League Records, Skye Lockwood, one half and manager of Echo and the Empress, classically-trained multiinstrumentalist, producer and remixer Luke Godson aka Luke Millions of The Swiss, and singer songwriter and 2012 triple j Unearthed finalist Jesse Davidson. The five were chosen from 30 applications, and each receive $5000 to kickstart their fellowship, with additional funds available through the year through long programs. The fellowship can assist in areas such as song writing, production, business skills, marketing and public relations.

UNDR CTRL AGENCY LAUNCHES

Former Modular booking agent Paul Stix officially launched a booking, touring and events agency UNDR ctrl, although it’s been quietly working behind the scenes for some time. It has 27 acts, including Canyons, Van She, Bag Raiders, triple j Unearthed act Albert Salt and teen producer Just A Gent.

ARIA AWARDS RETURN TO TEN NETWORK

This year’s ARIA awards broadcast returns to Ten Network. At its peak years back, 1.8 million tuned in and the awards were used by brands

MORE AUSSIE ACTS SIGN OVERSEAS DEALS

On the eve of a European tour in November, Byron Bay’s Ball Park Music signed two new international deals for their Puddinghead album.

One is with Germany’s Embassy of Music (Moby, Robyn, Passenger) for European distribution.

Dramatico Entertainment (Gurrumul, The Wombles, Marianne Faithfull, Caro Emerald) will handle the album for the United Kingdom.

Fresh from signing a US deal with SideOneDummy, Brisbane’s Violent Soho stitched up a Canadian deal with Dine Alone Records. Their studio LP Hungry Ghost is out in Canada on September 30 Adelaide producer Motez signed with Primary Talent International for UK and European bookings. Its clients include Daft Punk, Dizzee Rascal and A-Trak.

Nuclear Blast signed Brisbane’s three-guitar metal band Aversions Crown to a world deal for their second album Tyrant . They’ve toured Europe and UK and played Warped. First single ‘Hollow Planet’ had half a million views.

Melbourne’s Twerps, who have toured the USA three times, will have their new eight-song EP Underlay released outside Australia by Merge Records.

Ahead of its US debut at CMJ, Sydney’s Spookyland pacted with U.S, label Canvasback to release its Rock and Roll Weakling EP. Apes from Melbourne signed to UK booking agency 13 Artists. It has Arctic Monkeys, Bloc Party, The Stone Roses and Radiohead on its roster.

Fellow Melburnians Dead City Ruins inked an international record deal with German metal/ rock label Metalville Records. The label’s boss Holger Koch saw them play in Cologne and fell in love with the album. The European release of the album includes a version of AC/DC’s Rock ’n’ Roll Damnation featuring Whitfield Crane of Ugly Kid Joe on vocals.

AUSTRALIA COUNCIL TO INTRODUCE NEW GRANTS MODEL

The Australia Council for the Arts will in January introduce a new artist-centric grants model that will allow a great diversity of artists and organizations to apply for funding. It has five programs ranging from $5000 to $150,000.

TROPFEST OPENS FOR SONGWRITERS, COMPOSERS

APRA AMCOS partner with Tropfest for a fourth year to present Tropscore. It offers songwriters and composers the chance to create the soundtrack for a short film provided

by Tropfest. Aside from $5,000 cash, winner performs their score before 90,000 at Tropfest on Sun Dec 7 at Centennial Park. Entries close Oct 2, go totropfest.com/au/tropscore.

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NEW FESTIVALS

Insane Clown Posse plan to stage their Gathering of the Juggalos in Australia in 2015 … The NSW Central Coast gets a new heavy music festival. Fiesta-A-Cielo has 11 acts on October 4 in Gosford …Darwin gets a new jazz festival, Jazz On The Green, on September 13 at Gardens Amphitheatre with proceeds going to Rotary projects in the Top End and Timor Leste … Launceston’s Basin Concert returns after 15 years on New Years Day.

SNAPSHOT OF AUSTRALIAN FESTIVAL GOER

A snapshot of Australian festival goers by ticketing platform Eventbrite’s Festival Social Buzz Study found that the average attendee is twenty-something, female and in a relationship.

55% of attendees are female, 45% men. 68% are married. A quarter are thirty-something. 35% have children. They’re not as music-obsessed as you’d imagine. 48% expressed a keen interest in politics and news. That is followed by comedy (21%), music (20%), technology (17%), cooking (13%) and fashion (12%).

They are social media savvy, with Twitter as their platform of choice. The festivals that use social media most effectively are those that engage its audience over a long period. Soundwave was considered the most effective, staggering artist announcements and getting acts to “speak” directly with fans. The other most talked about festivals are Stereosonic, Vivid Sydney, Big Day Out, Splendour In The Grass, St. Jerome’s Laneway, Sydney Gay & Lesbian Mardi Gras, Tropfest, Melbourne International Comedy and Australia Day Parade. But when social media buzz is put in perspective of their size of the crowds they draw, Splendour In The Grass has the most engaged audience. Then come Stereosonic and Virgin Australia Melbourne Fashion Festival.

DAN SULTAN BIG WINNER AT NIMAS

Dan Sultan took three wins at the National Indigenous Music Awards in Darwin. He got song of the year (‘The Same Man’). album of the year (Blackbird) and cover art (for Blackbird with artist Ken Taylor). Jessica Mauboy won artist of the year, Briggs the new talent and East

MICK BLOOD BENEFIT

A host of Sydney acts, some reuniting just for the night, play a benefit on September 27 at the Bald Faced Stag in Leichhardt for Mick Blood of ‘80s band Lime Spiders. He is facing months of rehabilitation for brain damage received two months ago during an altercation in a Newcastle pub. Playing are the Spiders with mystery band But Jacques The Fish (a common pseudonym used by The Celibate Rifles), Spurs for Jesus, The Amazing Woolloomooloosers and The Dubrobvniks, among others.

Journey for video clip and Munkimuk inducted into the NIMA Hall of Fame. Among highlights were Sultan playing with a full band including a horn section and a Hip Hop Showcase with Philly, Jimblah, Last Kinnection and Briggs

AUSTRALIA LAUNCHES DIGITAL CONTENT GUIDE

To lure consumers from illegal content, Australia’s creative industries jointly launched their first Digital Content Guide. Australian Recording Industry Association (ARIA) chief executive Dan Rosen admitted, “Widespread copyright infringement on the Internet is an ongoing problem for the creative industries and we have been told that at times consumers have been confused about what is or isn’t a licensed service.”

THINGS WE HEAR

Is a book on the late Angels front-man Doc Neeson on the way already?

How true are the rumours that Big Day Out’s new full owner, Texas’ C3 Presents, will bring the event back as Lollapalooza Australia?

Promoter Live Nation Australasia teamed with New South Wales Health to promote sexual health to 15-29 year olds through its online, content and ticketing operations. It urges regular testing for sexually transmitted infections.

The Federal Government’s decision to freeze indexation on community broadcasters in its May budget now looks like leaving a funding hole of $3.1 million for community radio and TV. Federal funding only made up 12% of revenue but it’s hard for stations operating on the smell of an oily rag.

With the prospect of Daddy Cool reuniting to play before being inducted into the Hall of Fame (along with music journalist and author Ed Nimmervoll), the 9th Age Music Victoria Awards on November 19 was a quick sell-out.

From late November, it’ll be easier for Aussies to tour New Zealand. It has changed its visa requirements where acts and support crew can travel on visitor visas rather than work visas.

After ten years, four albums, 1,000 gigs and an ARIA nomination, Adelaide’s Lowrider play their final show on Nov 21 at HQ before an indefinite hiatus.

The Gold Coast Bulletin ran a piece on residents of Gold Coast’s Parkway Drive fed up with fans of the Byron band pilfering the street sign countless of times. One was cut from the post with an oxy torch after a week in place.

After Tea Party and The Superjesus finish off their joint tour, Tea Party’s Jeff Martin will form a new band with The Superjesus’ singer Sarah McLeod and Baby Animals drummer Mick Skelton, Noise 11 reported.

Adelaide’s third Fowlers Live Music Awards (Thursday November 13) is joined by ticketing company Moshtix as a partner, alongside Music SA and Coopers.

Frontier Touring’s Michael Gudinski is one of the producers of a new tele-movie about the life of veteran Australian music TV host, record producer and journalist Ian “Molly” Meldrum. To start shooting this year, Molly will be screened on the free-to-air Seven Network which enjoyed huge ratings earlier this year with the two-part INXS: Never Tear Us Apart.

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1800 251 367

PG. 13 / MIXDOWN NO. 245 / SEPTEMBER 2014

PRODUCT NEWS POLYTUNE 2 MINI & POLYTUNE 2 NOIR

DAMIEN GERARD STUDIOS

The TC Electronic Polytune 2 Mini and Polytune 2 Noir are the newest editions to TC Electronic’s Mini Pedal line. The Mini’s enjoy many of the new features of the Polytune 2, with a ‘tuner magnet‘ feature which slows the needle when you get close to the desired pitch and will also store your pitch reference and tuning mode, even after power-down. The Polytune 2 Mini & Noir offer the same strobe-tuner mode as their bigger brother with ultra-bright LED’s and the same display resolution, just in a smaller package. TC Electronic haven’t forgotten to include Drop-D and capo tuning modes, True Bypass with silent tuning, daisy-chain DC output and even 3M Velcro to attach the pedal to pedal boards. The Polytune 2 Mini and Polytune 2 Noir are expected to become available in September 2014 for a retail price of $179.

For more information on the range of TC Technology products contact Amber Technology on 1800 251 367 or visit www.ambertech.com.au

SEAGULL MERLIN

Damien Gerard Studios located in Darlinghurst Sydney is one of the most established studios in Australia and over the past 32 years the studios have hosted some of the worlds most prominent producers, artists and bands. Services include recording with a range of influential in-house recording engineers with extensive credits as well as mastering with world renowned mastering engineers in incredible recording studios and mastering spaces that feature both state-of-the-art studio production gear as well as classic analogue equipment. Package deals include pre-production meetings, recording, mastering, CD production and release strategy consultations. The studios are only one arm of the Damien Gerard holistic experience which also operates independent labels What Records

Montreal based Godin Guitars has introduced a new addition to its Seagull line-up of acoustic instruments, the Seagull Merlin Natural SG. Crafted in LaPatrie Quebec, Canada and inspired by the dulcimer, the Seagull Merlin is a very portable & compact 4-string diatonic acoustic instrument that is simply fun to play and very hard to put down. This instrument was designed to introduce & stimulate people of all ages (some of whom may not necessarily be players) to the joy of creating & playing music. This is further accentuated by the Merlin’s diatonic scale, in which the player will find it nearly impossible to hit an “off note” on the fingerboard. The Seagull Merlin Natural SG is available with the option of a solid spruce top or solid mahogany top, both with satin oil finishes.

It features a ‘moustache’ style Tusq bridge & compensated saddle by Graphtech, a 3-piece rock maple body with drive-through neck design and vintage style open-geared tuners. Whether they are just starting out on a stringed instrument or are a professional musician, players from all levels will find the Merlin to be an attractive addition to their musical palette.

and Foghorn Records, Foghorn Media which offers a range of services including consultancy, publishing, distribution and radio plugging, and even SoundsLikeCafe which is Australia’s leading distributor of cafe music to cafe’s across Australia. If you’re looking for a professional recording studio with incredible spaces and gear and want to work with experienced engineers and staff who know the industry backwards, Damien Gerard Studios really offer the full package.

For more information on Damien Gerard Studios you can contact them by calling (02) 9331 0666 or visiting www.damiengerard.com.au

BLACKBIRD STEALTH PEDALBOARD

For more information about the new Seagull Merlin Natural SG, call (02) 9939 1299 or visit www.dynamicmusic.com.au

ZOOM IQ5 If you own an iPhone or iPad and you’re in the market for a field recorder or are looking for a great way to capture your rehearsals or quick ideas with clarity and quality you have to check out the The Zoom iQ5, a high-quality con­denser microphone com­pact enough to be slipped into your pocket. The iQ5 employs a unique rotat­ ing mech­a­nism that enables audio record­ing with cor­rect left-right stereo ori­en­ta­tion whether used ver­ti­cally or hor­i­zon­tally. The iQ5 con­tains two micro­phone ele­ments: a direc­tional “mid” mic that cap­tures audio com­ing from in front and a bidi­rec­tional “side” mic that cov­ers ambi­ ent sig­nal. Stereo width can be to either 90° or 120° for a wide or nar­row stereo image and can even record the mid and side mic sig­nals as raw MS data so that you can later adjust the stereo width from 30º to 150º with Zoom’s free Handy Recorder iOS app.

M-Audio’s flagship range of MIDI controllers and keyboards are now even better value with a massive price reduction across the entire Axiom Air range. Offering unprecedented control, incredible ease-of-use and combined with empowering software the Axiom range form the ultimate studio centrepiece. Program beats, loops, and grooves using easily assignable trigger pads and solid, responsive keys.

Illuminated knobs, a long-throw fader, plus an array of dedicated transport and software navigation buttons give you hands-on control of your sessions and HyperControl unites your hardware and software by automatically mapping the controllers with no set up chores to perform so you can start working faster. Completing this powerful package is Ignite, the music creation software from Air, which provides a powerful way to quickly capture an idea and create music.

For more infor­ma­tion on the Zoom range of prod­ucts con­tact Dynamic Music by phone on (02) 9939 1299 or visit www.dynamicmusic.com. au

PG. 14 / mixdowN NO. 245 / september 2014

The Blackbird Stealth pedalboard started as a way to capture all of the gig-friendly features from Blackbird’s custom boards in a lighter and easier to carry design. The board is formed from impact resistant ABS plastic to provide the perfect balance between strength and weight. The board’s raised edges and sloped design help eliminate weak spots in the frame and give the pedalboard a look that’s like no other on the market. The end result is a 15×25 pedalboard that can take the abuse of being dropped, stomped, crushed and smashed, but has all of the gig friendly features to make setup and playing a breeze. Every Stealth pedalboard comes equipped with two solderless 1/4’ jacks for your input and output. Simply plug a cable from your first and last pedals on your board, to the inside of the jacks. Now you have easy access to plug in your guitar and amp, without having to touch or move a single pedal. The built in Power Bays are designed to give you

easy access to your board’s power supply as well. By mounting your power under your board, you free up the top for what every guitarist needs; more pedals.

For more information about Blackbird Pedal Boards contact Gladesville Guitar Factory on (02) 9817 2173 or visit www.guitarfactory.net

PG. 15 / MIXDOWN NO. 245 / SEPTEMBER 2014

PRODUCT NEWS STRAUSS AMPS

MASTERY BRIDGES

Available now through Gladesville Guitars is the new Mastery Offset Bridge Series. The patented Offset Mastery Bridge was designed by a professional luthier from Minneapolis.

Each bridge is crafted in Minneapolis using the highest quality, non-corrosive materials available. These bridges are made to fit the Fender Jazzmaster, Jaguar, Mustang, Bass IV, Telecaster with Bigsby Vibrato & Jag-Stang. The Offset Mastery Bridge requires no modification

to guitars originally equipped with Fender’s “floating” style bridge and stock body thimbles.

The bridge easily fits into vintage guitars as well as new and used American or imported guitars with these thimbles.

Strauss Amps have released a whole new range of colour options for their SB-30 and SRT-15 series amps. For guitar players that are adamant about their gear looking as good as it sounds, Strauss amps have got you covered with 6 new colour options for their flag-ship amp series.

Now you can get your hands on the SB-30 and SRT-15 models in these available colours: Navy

Blue, Surf Green, Cream, Burgundy, Sheffield Green, Violet & Black of course!

For more information regarding Strauss products, contact Jade Australia on 1800 144 120 or visit www.jadeaustralia.com.au

For more information about Mastery Bridges contact Gladesville Guitar Factory on (02) 9817 2173 or visit www.guitarfactory.net.

SOUNDCRAFT M SERIES MIXER SHURE WIRLESS MICROPHONE TRADE IN OFFER

With the Digital Dividend Restack now only 6 months away people are obviously starting to wonder what they should do with their existing wireless microphone systems. Especially after some media outlets reported recently that if you operate a wireless microphone system in the 694MHz-820MHz frequency range after 1 January 2015, you may face large fines and/or jail. So for a limited time, Shure will take your existing wireless system off your hands and offer you a great price on a new replacement Shure wireless system that you know will last

you into the future. So just bring in any brand of wireless microphone to your participating Authorised Australian Shure reseller and as long as it is a complete, working wireless system you can qualify for an extra discount on a new replacement system.

For more information on the range of Shure products and featured promotions contact Jands by calling 02 9582 0909 or by visiting www. jands.com.au

In a world full of cheap compact mixers, Soundcraft has achieved something exceptional with the Soundcraft M Series. Equally suited to recording and live sound applications, the M Series delivers a great-sounding, reliable performance, session after session, mix after mix at an affordable price. Even before you plug in the mixer you know it’s something very special. The brushed steel side panels aren’t just beautiful, they can withstand a weight of 60kg and are designed to leave the mixer with no sharp edges. Removing these panels is simple, revealing a robust, integral rack mounting system equipping the M Series instantly for a life on the road. The M series is exceptionally easy to use and well designed with all inputs,

EQ, auxes, panning and level controls presented clearly, and high quality faders combine with signal and peak LEDs on every channel. From raw component level through to cosmetic finishing, the M Series has been built to last with ease of use and quality at the forefront of design. The Soundcraft M Series is available in 4, 8 or 12 mono input channel frame sizes. All three mixers include four stereo inputs and four stereo returns, with all other features and specifications identical.

For more information on the full Soundcraft range of products contact Jands by calling 02 9582 0909 or by visiting www.jands.com.au

Available where all good DVDs are sold.

PG. 16 / MIXDOWN NO. 245 / SEPTEMBER 2014

PG. 17 / mixdowN NO. 245 / september 2014

PRODUCT NEWS APOLLO RANGE – LHR DYNAMIC DISTORTION

M-AUDIO OXYGEN AND KEYSTATION

The LHR Dynamic Distortion is the eighth pedal released in MC System’s Australian-designed Apollo range, and is designed to deliver solid, red-hot distortion. Built like a tank, and utilising a 100% analogue signal path, the LHR brings ultimate control to the science of distortion. Two independent tone settings are instantly available via the Alternate foot switch, while MC Systems unique V-SWITCH dynamic true bypass system gives you fast access to two different drive levels - how HARD you step on the V-Switch determines how much distortion you get - from a little crunch to a load of scream! Finally, a level control allows for final effect level matching. With the LHR Dynamic Distortion pedal, MC Systems delivers head melting distortion in a rugged, all analogue, true bypass stomp box with the kind of intuitive yet advanced control that most of us never dreamed possible!

For more information on the range of MC Systems products contact CMC Music Australia on (02) 9905 2511 or visit www.cmcmusic.com.au

PRESONUS AUDIOBOX I-SERIES M-Audio’s two classic USB keyboard controllers, KeyStation and Oxygen are now two of the most affordable and rugged designs on the market.

The KeyStation series is a super tough range of USB keyboards, perfect for school labs, or as a really solid piece of the home studio. The Oxygen series offers extra control, including Rotary controls, Sliders & buttons, for controlling your Plug-In effects, Soft-Synths or DAW. Both the Oxygen and KeyStation models now include Ignite DAW software. Ignite provides a refreshingly original and musician-centric way to craft music. Quickly capture, combine, and arrange your musical ideas. Ignite offers seamless integration with your M-Audio keyboard

controller, with no set-up chores to perform.

The Oxygen Series USB MIDI controllers deliver next-generation functionality from M-Audio, the leading innovator in mobile music production technology. Velocity-sensitive keys and a sleek, compact design round out a portable keyboard that’s perfect for both production and performance. No other MIDI controller in this price range has so much functionality while remaining easy to use.

For more information on the Oxygen and KeyStation visit www.proaudiogroup.com.au

SEPULTURA RELEASE METAL VEINS

PreSonus is famous for its tightly integrated hardware/software solutions, and the AudioBox i series is no exception. The USB powered AudioBox iOne and iTwo provide high-quality audio I/O for Mac, PC, and Apple iPad. These compact and ruggedly built interfaces feature PreSonus’ award-winning analogue signal processors and microphone preamps, allowing recordings at 24bit audio up to 96 kHz, and include powerful and easy to use DAW’s for use on Windows, Mac or iPad. They can sit on a tabletop or fit in the pock-

et of a backpack or laptop bag and are powered by the USB bus, so you don’t have to mess with a power supply or AC cord. And they’re built to withstand the rigors of travel.

For more information regarding Presonus products contact National Audio Systems on (03) 8756 2600 or visit www.nationalaudio.com.au

M-AUDIO CARBON SERIES BX Carbon studio monitors help you track, monitor, and mix with confidence by providing accurate sound and dynamic acoustic control.

Equipped with woven Kevlar low-frequency drivers and natural silk dome tweeter, BX Carbons deliver a flat frequency response, enhanced stereo imaging, and increased clarity for authentic mixing in a space-saving design.

The bi-amplified class A/B amplification means high power with less noise and ensures that your monitoring setup can handle today’s modern music with ease. The tweeter’s waveguide has been enhanced to provide an expansive sweet spot and superior stereo imaging. A wider mix position gives you professional monitoring for any calibre studio. Pinhole-mounted LED placement cues help locate and light up the sweet spot to ensure a speaker placement that reliably translates stereo information and frequencies.

For more information on M-Audio’s Carbon Series studio monitors visit www.proaudiogroup. com.au.

PG. 18 / MIXDOWN NO. 245 / SEPTEMBER 2014

As they move into the thirtieth year of their amazing career, Sepultura announce the release of Metal Veins - Alive at Rock in Rio, available on DVD and Blu-ray from September 19. This amazing show was recorded with the French percussion group Les Tambours Du Bronx and is performed on the World Stage of Rock in Rio 2013 on the day dedicated to Heavy Metal. This concert boasts many of the band’s biggest hits including ‘Refuse/Resist’, ‘Territory’ and ‘Roots Bloody Roots’, which saw eighty five thousand people shouting out every word from start to finish. The concert also features a stunning cover of the Prodigy’s ‘Firestarter’ and ‘Sepulnation’, the anthem of Sepultura’s global army of fans. The

DVD/ Blu-ray also includes an exclusive documentary that details the behind the scenes story leading up to the performance itself as well as interviews with members of both bands, scenes from rehearsals and soundcheck. It gives the viewer access to the backstage area to witness the preparations unfold; right up to the moment that the band takes to the stage.

Sepultura - Metal Veins is available through Shock Entertainment via screenpop.com.au, JB HIFI and where all good DVDs are sold.

PRODUCT NEWS PRS SE KINGFISHER AND SE KESTREL BASSES

PRS Guitars is now offering its first two basses through the popular SE line: the SE Kingfisher and SE Kestrel. Designed in PRS’s Maryland shop, the Kingfisher and Kestrel both feature neck-through construction for sustain and evenly balanced tone, but are very distinctive instruments. The SE Kingfisher is a hugesounding bass with distinct old-school tonal character that delivers that huge ‘clacky’ tone

missing from some modern basses, while the SE Kestrel takes a traditional single-coil bass platform and adds PRS’s fit, finish, and attention to detail, delivering a new take on a classic instrument.

For more information contact Electric Factory on (03) 9474 1000 or head to www.elfa.com.au

FOSTEX TH500RP PREMIUM RP HEADPHONES

Fostex have long since used RP (Regular Phase) diaphragm technology in their acclaimed professional studio headphones, such as the T20RPmk2 and the recent T-series models. The new TH500RP model now combines this RP technology with the design philosophy and flair of the TH900, resulting in a set premium headphones which deliver a simply stunning high resolution sound, with sparkling highs, rich mid tones and high quality lows. What’s not to like about these headphones? They feature a high specific gravity resin baffle plate that delivers a high resolution sound with rich mid range and good quality lows and a reduction in unwanted resonance.

The high quality soft leather ear pad also ensures the optimum distance between the diaphragm and the ear for a comfortable listening experience even in prolonged use. Using aluminium and magnesium for structural parts, the TH500RP achieves a high quality texture and light weight. A unique punched metal is used for the housing, which pays homage the original RP headphone design.

For more information on the range of Fostex products contact Network Audio Solutions by calling (03) 9525 2088 or by visiting www.networkaudio.com.au

A Legendary

Remix.

HD8 DJ

HD7 DJ

HD6 MIX

Developed with DJs. Built with passion.

The new Pro DJ series carries a legendary sound into a new decade. Everything that DJs love about the HD 25 lives on in specialised versions for live or studio environments — with

a slightly extended bass line and even clearer highs. What we reinvented is the design: unmatched exterior shielding and attenuation.

Resonance-absorbing frames.

Circumaural ear pads that pump your mix directly into your ear. And their wearing comfort allows you to drive the crowd for hours and hours.

For more information, freecall 1800 648 628, email sales@sennheiser.com.au or visit www.sennheiser.com.au

MIXDOWN NO. 245 SEPTEMBER 2014 / PG. 19

PRODUCT NEWS THREE PHASE RECORDING STUDIOS

Located just a few minutes walk from the bustling Brunswick East entertainment precinct in Melbourne’s north, Three Phase Recording studios is a fully equipped boutique studio centered around a beautiful vintage SSL console.

The acoustically designed main tracking room, with its hardwood floors, adjustable baffling, and not a 90 degree angle in sight, sounds amazing.

An additional two, smaller tracking rooms provide a versatile recording environment, perfect for tracking the whole band live. The onsite shop can help with emergency string, stick, and sugar-hit supplies, and there’s even a goods hoist so you can enjoy that view without the back ache. Ideal for any project from demos, independent releases, to major project preproduction, Three Phase Recording Studios will inspire the creative in you for the best recording possible. For a limited time only, Three Phase are doing a discounted rate on full day recording sessions with our house engineer Joel Taylor. Pay only $450 for a 10+ hour day. Feel free to contact us for a chat and a walk through the studio

XELON ENTERTAINMENT

Xelon Entertainment is Australia’s leading digital distributor of music & video and is one of the most respected music companies in the country.

Their distribution method is based around years of music industry experience. They focus on each release on its own merit, tailoring their marketing and vast exploitation avenues to maximise the potential of every label they service. Providing what they like to call a “complete hands on” service, from the preparation of content to its delivery and distribution, Xelon is invested in every release and its success from the very beginning. Since they operate on a percentage of sales, in order for them to succeed, so do you as a label or artist. The Xelon team is passionate

about music and believes in giving everyone the opportunity for their music to be heard. Xelon is also home to Australia’s biggest trance label 405 Recordings, and its sister label Velcro which is more focused on the commercial genres of electronic dance music.

For more information on Xelon Entertainment, and to find out about some of the other services they provide, visit www.xelonentertainment.com or call them on (03) 9429 5965.

DREAM THEATRE LIVE BLU RAY RELEASE Dream Theater have announced the release date of ‘Breaking The Fourth Wall (Live From The Boston Opera House)’, a live Blu-Ray / DVD set of the band’s one-of-a-kind performance from the Boston Opera House on March 25, 2014.

Produced by the band’s own John Petrucci, filmed and directed by Pierre and François Lamoureux, and mixed and mastered by Richard Chycki, ‘Breaking The Fourth Wall’ is over 2 hours in length, capturing the special evening, which featured guest performances from The Berklee College of Music Orchestra and Choir. This past year Dream Theater earned a second Grammy nomination for Best Metal Performance for the single The Enemy Inside from their current self-titled album which is their highest ARIA charting release in Australia. They have also just announced their long awaited return to Australia this October for some live shows.

For more information on the studio contact Three Phase on 03 9939 8896 or visit www.threephasemusic.com.

VOX MARK III BASS / MARK V BASS SOLIDBODY BASS GUITARS

‘Breaking The Fourth Wall will be available via Warner Music from September 26 and will be touring Australia in late October with shows in Melbourne and Sydney

ROTOSOUND GUITAR STRINGS

The MARK III and MARK V are contemporary revivals of the traditional VOX Teardrop/Phantom shapes. These guitars are sure to make an impact with guitarists who are familiar with the legacy of these guitars, and also with younger students and beginners just starting to play the guitar. The teardrop-shaped MARK III Bass and the Phantom-shaped MARK III Bass comprise a lineup that is available in four pop colors for each model, featuring basswood bodies, hard maple necks, 21-fret rosewood fingerboards, and two single-coil pickups. The pickups feature the vintage positions that faithfully reproduce the famous signature models, so you’ll enjoy the unique sound that is distinct from typical basses.

In addition, the slim and short-scale neck will be comfortable for students and professional musicians alike. The peerless MARK III Bass and MARK V Bass are unique not simply for their sound quality and playability, but also in the way that they allow you to experience the enjoyment of performing and in their mysterious charm that seems to accentuate the player’s own personality.

For more information on Vox products contact Yamaha Music Australia (03) 9693 5111 or visit au.yamaha.com

PG. 20 / mixdowN NO. 245 / september 2014

keeping them factory fresh until ready for use.

Rotosound strings now come with colour coded ball ends, and because they are British through and through they are Red, White and Blue. The strings still retain their pure, typically British tone, providing exceptional sustain with clear bright sounds. The new coloured RWB ball ends, new packaging and a new packet design elevate the Rotosound strings to a new level. It characterises Rotosound’s continued commitment to the use of intelligent materials and systems and ensures strings reach musicians factory fresh and easy to use.

Rotosound has introduced it’s guitar string range with new colour coded ball ends in new environmentally friendly airtight packaging. The new innovative, air-tight packaging provides an unparalleled moisture barrier ensuring strings will not tarnish or fade while in the packs

For more information on the Rotosound range of products, phone Galactic Music on (08) 9204 7555 or visit www.galacticmusic.com.au

DrumCraft Series 5

6 ply birch/poplar hybrid shells, zero gravity mounts, Nickleworks snare throw off, triple bass drum mount, Remo heads, compact size toms, double braced heavy duty hardware, Zero VOC eco-friendly lacquers

5PC KIT WITH FREE ADD-ON TOM RRP $1498

FREE ADD-ON TOM

$999

See your nearest DrumCraft dealer or visit www.drumcraftaus.com.au or www.dynamicmusic.com.au PG. 21 / MIXDOWN NO. 245 / SEPTEMBER 2014

SOUNDGARDEN

KINGS OF SOUNDWAVE Soundgarden were patient zero for the grunge epidemic, the point of contagion from which the Seattle sound spread. Originally formed in 1984 they went through several lineup changes, but two members were always at the core: singer Chris Cornell and lead guitarist Kim Thayil. It was Thayil who suggested to two friends of his at a radio station that they should join forces to create their own independent label – that label was Sub Pop, and Soundgarden were their first signing.

After studying the success of labels like Motown, who took a regional sound and made it global, Sub Pop figured that if they cultivated their local scene, gave it an identity, they could create something that might conquer the world. The beginnings of that work had already been done for them, and Seattle’s bands were already hanging out with and influencing each other. Thayil remembers a time he was at the apartment of Mark Arm, Mudhoney’s singer, with Buzz Osborne from The Melvins, “listening to records and talking about songs and guitars,” when Osborne happened to mention that Black Sabbath got their doomy, churning guitar sound by using drop-D tuning.

“I experimented with that tuning and wrote a song called Nothing to Say”, Thayil says. “Well, I wrote the music for the song and Chris wrote the lyrics and everyone in the band loved the song.

It was instantly really huge with our friends and our peers and other guys in bands and our small audience of drunks. Punk rock people in Seattle grew really attached to that song.”

Among that audience of drunks and punk-rock people was Jerry Cantrell from Alice In Chains, who were at that point still more of a 1980s glam-metal act. “He was trying to figure out what we were doing and had a hard time doing it because it wasn’t standard tuning,” explains Thayil. “I pointed it out: ‘It’s this other tuning, we take the E string, we drop it down a whole step to D’ and he was very interested in that, wanted to know how that tuning figured on a guitar and I explained to him the benefit of that tuning.

Then a few months later they started writing some very beautiful dark and heavy songs in that tuning. Their band had a change in their style of set, definitely, but they were coming up and they were young. We hadn’t made a record yet but we had been around for a few years and in Seattle we were pretty big.”

Of course, it wasn’t just the way Thayil tuned his guitar that gave Soundgarden their distinctive sound. They played around with contrasting weird time signatures and straightforward power chords, made their music loud and thick and had Cornell sing pure nihilism over the top of it. “A

Superunknown in 1994. That album gave us the dirges Black Hole Sun and Fell on Black Days, both bleak and troubled burn-out anthems that seemed to welcome the apocalypse as if it was showing up late to a party, but it also contains oddities like Spoonman. Dedicated to a Seattle busker named Artis The Spoonman, they had him feature on the song and in its video playing his namesake instrument. Nowadays, Thayil plays the spoon solo himself. “I simulate it on the guitar by playing close to the bridge and using lot of people used that tuning – Sabbath did, a slight delay,” he says. “I didn’t always do that; I’m sure Zeppelin did, and Van Halen did, but it was the way it was used, a particular heaviness I’ve been doing that for the past year but back in the day we would occasionally have Artis, the and darkness, making these particular fifth namesake of Spoonman, he would occasionally chords that are facilitated by that tuning, that come out and play with us live. Just on occasion. was something Soundgarden was doing and And on the rest of the occasions Matt Cameron eventually our brothers in Seattle started doing it as well: Nirvana, Skin Yard, Alice In Chains, et would do a bit of a drum solo while I did some percussive guitar noises.” cetera.”

An idea like “let’s put a spoon solo in this song Soundgarden were one of the first of those grunge bands to leap from Sub Pop to a major about a busker” seems like exactly the sort of concept that would get shot down immediately label, A&M Records. They lacked two things common to most of their peers: a punk resistance in a critical environment, but not only did it make it into one of their songs – into the album’s lead to the idea of selling out, and heroin addiction.

Both made their relationship with popularity single – but it’s far from alone. Their under-rated follow-up, 1996’s smoother. They were Down on the Upside, one of the few grunge “because we have four people that includes oddness like bands who weren’t are so self-critical it tends to keep the duelling mandolin tormented by fame and mandola in Ty but instead seemed the stuff we produce original and Cobb. Although it happy to have more unique.” would turn out to be of the limelight shone the album that broke on them. them up (Cornell left – first to front Audioslave, They’ve always been resistant to the idea of record label yes-men, though. Nobody is as and then to pursue a solo career), it still showed critical of Soundgarden’s music as Soundgarden a band who were unafraid to experiment. are. Each member is a writer and most of them “That’s something where you have to have the multi-instrumentalists, and all of them are courage to take that risk,” says Thayil. “To share opinionated. Thayil calls their self-critical nature things with people, as in any relationship, you a strength. “I imagine it’s caused difficulties become accustomed to doing it. I don’t think we criticise individuals’ specific work to make it but the benefit is you don’t have to deal with personal, I think we do it collectively in regards the stagnation or the odd epiphany of a solo author. In the case of bands that have one to the direction the material is taking. So if we have a song that has elements of it that are primary songwriter/singer you’re left to the redundant or sound similar to some other piece whim of their personal life experiences. What if of material, we might change it or identify it or they get religion or develop a substance abuse point it out. In that regard, because we have four problem? Then it might reflect in the quality of their material. When you have four guys that are people that are so self-critical it tends to keep producing material, collaborating and offering the stuff we produce original and unique.”

After the break-up Soundgarden stayed away for their two cents to augment whatever’s being over a decade, eventually re-forming in 2010. produced, it’s difficult to go down an uncritical, Their reunion tour brought them to Australia self-congratulatory path, which I think individual authors can often get caught up in especially if for the Big Day Out, after which they released King Animal, their first new album since getting they’re told that they’re great and everything they touch will turn to gold. But in most cases back together. Like Down on the Upside, it demonstrates they’re still willing to throw in new their shit won’t turn to gold.”

Soundgarden made gold for years, peaking with ideas, like the horn blasts in A Thousand Days

PG. 22 / mixdowN NO. 245 / SEPTEMBER 2014

Before and Black Saturday, and also able to just plain rock out in songs like By Crooked Steps.

When they return to Australia for Soundwave it’ll be the first chance we get to hear those songs from King Animal live. Thayil says they’re already planning another album to follow it. “We’re probably gonna start working on another album in 2015,” he says. “I know Chris has been writing stuff while we’re on tour. It’s hard to write on tour. I come up with a lot of ideas, a lot of riffs, every time I pick up a guitar but it’s difficult to assemble a song for me while touring. But Chris spent some time – he travels with a computer and ProTools equipment – and he’ll work on songs in his hotel room, which is great.”

JODY MACGREGOR

little known facts about

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• The Soundgarden fan club is called Knights of the Sound Table • Jason Everman, though he never recorded with either band, was briefly a member of both Soundgarden and Nirvana.

• Soundgarden named themselves after the famous wind channelling sculpture A Sound Garden, located on the shore of Lake Washington in Seattle.

• Before Soundgarden was formed, Chris Cornell and Hiro Yamamoto formed a cover band named The Shemps, which featured Yamamoto as the Bassist and Cornell not only as the singer, but also as the drummer.

TOUR DATES Appearing on Soundwave Festival 2015, see Soundwavefestival.com for all the details.

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PG. 23 / mixdowN NO. 245 / september 2014

DREAM THEATER NIGHTMARE RHYTHMS The moment when Mike Mangini first became a member of Dream Theater was captured on film and released by the band as part of an online documentary into their drummer search. It takes a particularly talented player to step into the shoes of Mike Portnoy; you need personality, presence, tone and technical ability. Mangini’s resume is loaded with fine examples of his work with artists like Steve Vai, Extreme, Mike Keneally, and Dream Theater vocalist James LaBrie. Mangini was up for the job alongside Marco Minnemann, Peter Wildoer, Aquiles Priester, Thomas Lang, Derek Roddy and our own Virgil Donati, but it was pretty clear that although everyone who auditioned was great, Mangini was simply Dream Theater’s new drummer.

Now with two Dream Theater albums and a bunch of touring under his belt, Mangini and his Dream Theater bandmates are heading to Australia for shows in Sydney and Melbourne, after which Mangini plans to hang around for some drum clinics.

I first saw you in Australia with Steve Vai back in 1997…

Wow! Yes, I’ve been there with Steve and then at least twice on my own for clinic runs with DrumScene magazine and I’m actually gonna do some clinics after the Dream Theater tour. I’m gonna stay there.

What does a clinic with Mike Mangini involve?

Well the clinic involves me playing and entertaining people, and then I do a presentation based on the product sponsors, gearing what I say and play towards the use of that product and why I use them, and I give demonstrations of the application of that in the music, either Dream Theater music or practicing or something that somebody might request. I usually get asked a lot of questions about the mechanics, the speed, the practicing, the pattern recognition, musical styles… people want to know how to do things, so that’s the focus.

What are the problems that people are coming to you for help with?

Oh if you look at everything that can be played on a drum set… which I will, I actually organise

that in my DVD; everything that has ever been played, everything that could ever be played and everything that will ever be played from now until the planet burns up is on one page. The thing is, once people see what is only possible then you start to work backwards, so when someone has an issue, it could be an infinite amount of things, but basically it’s with the mechanics and the understanding of what they’re doing, so a lot of times what they can’t play is really a lack of understanding. So to answer your question, I focus on explaining what something is. It’s very philosophical, a very Marcus Aurelius approach, a Roman emperor who had an amazing way of solving issues. If you have an issue with something you ask “What is it?” And it’s funny, but most things are difficult to deal with when you ask that question, “What is it?” You know?

Write an essay on what anything is, it’s really hard to do it! But that is in essence what happens.

People go “I have a problem with speed; how do I get faster with my hands?” Well, what is speed? What are your hands? What are they made of? How do they work? I end up showing them that they have a lot of other muscles and a lot of thoughts that are associated with either

the lack of speed or the attaining of it. And when I break it down they’re able to then achieve it when they work hard enough. That’s how I get through Dream Theater songs. I break the songs up into chunks in my head and I say “Okay, what’s next? Oh it’s this shape. What’s next? Oh, turn my head, look over here, here comes that bass part.” And I talk to myself while I hear the subdivision of time in my head, because I work with metronomes so much that I can imagine sound. So I’m hearing my own voice, I’m hearing time divided into subdivisions, and I’m hearing my drums, I’m listening to the other musicians and I’m this mental zone. It’s pretty deep.

So what’s it like, being the drummer in Dream Theater? It’s the dream job for a lot of drummers.

It’s been a major point in my life with the fulfilment of what I want to be and who I want to be. My path up until that point was that I had been in bands or working as a drummer, and I got to the point where I really didn’t want to work for someone else and be at someone else’s whim because you’re not paid retainer sometimes, you’re hired when you’re hired and you’ve gotta look for jobs in between. I took a job at Berklee College and I started to really bloom over there in terms of learning way more

things than I thought. There was so much to make me think, because I was being asked so many different things by students. I dug in and I did well there, but the thing is I was taken away from what I loved the most, which was playing.

And once you start to teach at a college, they say ‘This is your main gig,’ and I understand what they mean; it’s my main income. That’s what it is. But the main gig is in my heart, y’know?

That’s playing, and you teach based on playing.

Eventually I had to play more. I didn’t find a way to let both worlds exist, well, I did but then there were some changes happening there and then the opportunity for me to take advantage of gigs and things got squashed so I didn’t wanna live with that. I became open to getting into a band and lo and behold, the opportunity hit me.

I had to be prepared for it though, and I really wasn’t physically prepared for it even though I was emotionally prepared for it.

BY PETER HODGSON

TOUR DATES An Evening With Dream Theater Australian Tour 2014 October 29 – The Palais, Melbourne October 30 – The Big Top, Sydney

CANNIBAL CORPSE THY FLESH CONSUMED Once banned in Australia, Cannibal Corpse are now regular visitors to these lands, and right before the release of their next sure-to-be-classic death metal masterpiece, they return for another bite. These death metal icons unquestionably changed the musical landscape pretty much immediately upon their arrival.

A combination of brutal imagery, even more brutal lyrics and intense musical virtuosity makes them utterly unforgettable as has their morbid, blood-splattered album cover art. It was that imagery and lyrical content that had them banned from coming to our shores before, but those days are long gone. We caught up with bass player Alex Webster ahead of the band’s September tour, which takes place right before the release of new album A Skeletal Domain.

It’s great that you guys are frequent visitors to Australia now. There was a time when we couldn’t listen to you at all aside from sneakilytraded tapes.

We had censorship stuff going on out there back in the 90s. I’m glad that all those problems are behind us. For the past few years we’ve been able to come to Australia pretty regularly, about once every three years. It’s awesome. I’m glad it’s part of our regular album cycle tour plans at this point. It’s always great. Everybody’s really rowdy and there’s a lot of energy, but also everybody’s really cool and we have a great time hanging out with everybody. It’s killer, man.

So the new album comes out a couple of days after you play your last Australian show - will you be playing anything from it during these gigs?

Yeah, for Australia we will be. This summer we’re not. We’re just playing a set of classics out here on the Mayhem Fest tour in the States, but for the Australian tour we’ll definitely add some of

the new songs to the set. I’m really happy with the album. We recorded it at Audiohammer Studios in Orlando, Florida with Mark Lewis as a producer and engineer. He actually mastered it as well. That was a first for us. We hadn’t worked with Mark in the past and we’re really, really happy with how things turned out. The other albums we’ve done, we’ve been happy with those too but this one is a little bit different sonically. As far as how the songwriting style goes it is Cannibal Corpse-style death metal but there might be a couple of slight surprises in there for people. It’s easier for someone to listen to it and hear it rather than for me to describe it, but I don’t think anyone’s going to hear it and think it’s the same old stuff. It’s a pretty exciting and maybe slightly different kind of album.

You’ve just come off tour with your other band Conquering Dystopia with Jeff Loomis (exNevermore), Keith Merrow and Alex Rudinger (The Faceless).

Yeah, we just did a bunch of shows with Animals As Leaders and Chon. Most people reading this will know about Animals As Leaders, one of the best instrumental bands ever, and Chon are this killer instrumental band, very progressive stuff.

It was an all-instrumental tour which is very different to what I’m used to, but it’s a lot of fun, man. The response to Conquering Dystopia has been excellent. We’re definitely keeping things going and want to do more in the future. We’d love to play Australia some time. We’re going to have to work it around the schedules of all

PG. 24 / MIXDOWN NO. 245 / SEPTEMBER 2014

the guys in the band. Alex and I in particular do a lot of touring with our other bands. Cannibal is a heavy band, and The Faceless tour a lot, so we’re going to have to work around it but we will. Me and Rudy certainly don’t mind getting off one tour and going onto another one.

PETER HODGSON

TOUR DATES A Skeletal Domain is released on September 16.

Cannibal Corpse Australian tour dates with Hour of Penance: September 9 - Capitol, Perth, WA September 10 - Fowler’s Live, Adelaide, SA September 11 - The Metro Theatre, Sydney NSW September 12 - 170 Russell, Melbourne, VIC September 13 - The Hi-Fi, Brisbane, QLD

JOHNNY MARR THE MANCUNIAN CANDIDATE He’s one of the most iconic guitarists of the modern era, emerging with one of the UK’s all-time great rock acts at a barely ripe age, going on to collaborate with a roster of the most erudite musical minds (himself being one) in the past quarter century. Johnny Marr, a true English gentleman, has ventured on his own musical path, recent years seeing him join outfits Modest Mouse and The Cribs in a meaningful fashion, onto collaborating on blockbuster film scores with Hans Zimmer, and now, touring and recording under his own name for the first time. Preparing to release his second solo LP, Johnny recounts his own history, both recent or otherwise, down the line from the UK. Hello Johnny. Where do I find you today?

I’m just outside of Manchester, in a studio about to finish off mixing some B-sides.

Playland arrives relatively quickly after last year’s The Messenger. Was there a variation in approach, or more of a continuation?

I think it was a continuation. Because The Messenger was received pretty well, it gave me momentum, that forward motion. A lot of people were surprised I did one so quickly. But for me, it was a matter of ‘why stop?’ I was writing songs, and there was no reason to stop writing them. I thought it was a good thing to capture the spirit of the band live. A lot of bands I’ve been in I’ve always wanted to do that thing where you come off a lot of touring and go in the studio, but it’s easier said than done. Because it’s actually my band, I get to work at my pace, I was able to do it, and the other didn’t seem to mind. At least they didn’t say they did, anyway [laughs]. If you’re in a band that you enjoy and you’ve got the songs, and the audience are up for it, I don’t see any reason to stop.

That live energy is evident on Playland, but it feels more likened to the festival environment in terms of scope. Is that something you’re conscious of when writing?

That’s an interesting question, because festival

culture has become such a big part of the life of old bands these days. It’s an interesting thing, economically, bands have stopped making money from recordings, but that’s coincided with the rise of festival culture. It’s a lucky thing, that festivals have become such a big part of the culture. To answer your question, your environment goes into the mindset of the band.

I think there are some bands who absolutely design their songs for a big festival moment.

I don’t have too much of an issue with that, although occasionally it’s so obvious that it’s crass. But I understand why that would happen.

In my case, I don’t do that. But I do write songs to play on the stage. I’m really happy to do that, it’s a great thing. It’s a big part of what my band’s about. This record is even more about that than The Messenger was. I’ve seen the audiences’ faces over the last 18 months, some of them have been really big festivals. It is in my mind when I play, and I’m happy about that.

You’ve worked with one of the most influential score composers in recent times, Hans Zimmer, on Inception and Amazing Spider-Man 2, was there much of a learning curve for you in that environment?

There was definitely a learning curve, I enjoyed that. Hans is a very nurturing and gracious person. He encouraged me to be as much myself

as I could be. When we did Inception I was very respectful of the music that had already been laid down, and he had to keep telling me “We’ve got you in to be Johnny fucking Marr! Just be Johnny fucking Marr! Stop paying attention to my chords!’ So after a few days of that I let loose a bit. He gives me a lot of freedom, and it’s very much a collaborative thing. He’s very generous, and I’ve learnt a hell of a lot from that. It’s always a surprise. Musicians who have an idea of what happens on a movie soundtrack think it’s about experimentation. It kind of is early on, but it’s more about finding an emotional point that works with the drama. Let’s put it this way, you know straight away when you’ve got it wrong with a movie, whereas you don’t on record. A record you don’t know what it means until you get a reaction from the audience. In a movie you can tell straight away if something changes the atmosphere of a scene, and I really like that.

It’s not a matter of sitting down and plugging in your guitar and playing abstract stuff and hoping some of it sticks.

You’ve been playing a handful of Smiths tunes during your solo tours, which obviously invokes an emotional reaction from the audience. How do you emotionally relate to

those songs? Is there an element of nostalgia?

Never nostalgia. I’ve never been a nostalgic person. I don’t know how to be nostalgic. I’ve learned from the audience very quickly what those songs mean. It’s an amazing thing. On the one hand, it’s as simple as being a musician that’s been lucky enough to have written songs people love so much, then why not play them?

Because it is a privilege, and it’s a great thing.

It’s partly why people go to a gig. But also its significance to people is quite humbling, and I want to facilitate that. I don’t want to sound too sterile about it, because it is very moving.

People are crying sometimes, it’s an incredible thing. For me, it’s a reaffirmation of what pop music can do, and what following a band can do. I’ve always believed that, and no one can tell me otherwise, because I see it every night when I play these songs. People love bands. It’s more than just a song. It’s what it meant in their lives at that particular time.

BY LACHLAN KANONIUK

Playland is released October 3 through Warner.

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PG. 25 / MIXDOWN NO. 245 / SEPTEMBER 2014

PENNYWISE PUNK’S NOT DEAD Pennywise have been spreading their political punk rock messages since the late 1980s. In 1995 Randy Bradbury joined the band and became the permanent bass player after the tragic suicide of Jason Thirsk. After 26 years they are releasing their 11th album, Yesterdays, a collection of songs written in their early years that, until now, haven’t seen the dim light of the studio. It’s also the second album since lead singer Jim Lindberg returned to the band.

Mixdown chatted with Randy about what the future holds for Pennywise.

Yesterdays was just released last month. Are you happy with the album?

I’m very happy with it. For us it feels like a fresh direction to go, which is ironic because the songs are so old. I think because it’s older material it’s stuff that we probably wouldn’t do now so it feels good. I feel like we got away with something on this recording. There are different things on there.

other. And I’ve heard those guys talking about songs that Jason did that never got recorded and it’s always important to pay homage to him because he was such a big part of the band in the beginning years. So all of that stuff came together at the same time and it just made sense.

Have you added any of the new songs to your live set?

We’ve been playing ‘Violence Neverending’ and ‘Restless Time’. We don’t always play too many new songs live because people coming like us because of the stuff they’ve heard, not the stuff they haven’t. They want to hear familiar songs and their favourites.

Did you miss Jimmy while he was gone?

We never wanted him to leave, but I understand everything that happened. As time went on, and as the band was together for such a long time, we stopped talking about things that should be talked about. But now that he’s back and we all realise what we were missing and what we had lost, how are we going to keep from falling into the same trap again? So it feels really important to be back together and it seems right. We’re pretty stoked.

Whose idea was it to record all the old songs?

With Jim coming back into the band, and coincidentally it was our 25th birthday last year, we had plans to make a box set. So we were going through our garages looking for old cool tapes to include but as we were doing that we started getting the idea that it would be really great, especially with Jim returning, to recapture the old spirit that we had when the band started. We’d been talking about the band and how things led to his departure and we wanted to forget any drama. Also this way we didn’t have to go in the studio and hash out songs and fight with each

With the box set you’re planning and the latest album being a collection of old songs, Pennywise seems to be reflecting on their 26 years together. How do you feel about your career as a whole?

Obviously because of the anniversary and hearing old tapes it is reflective. But it also makes you realise that this band has been together for 26 years and this is complete dedication. We’ve all dedicated ourselves and there are no other options for us. At some point we said, “We’re all in.” It’s Pennywise or nothing. So there’s really a focus and a drive to stay alive and keep it

FRANK IERO

viable and keep going and try and get out there and play for fans that appreciate us. Obviously if there weren’t fans then we wouldn’t be able to. So we’re incredibly lucky to have that. The way I see our careers is like having a sailboat and the wind’s picked up and it’s pushing you along.

You’re going to go until there’s no more wind.

That’s how I look at it.

How do your friends react to you being in a band that tours the world?

Even with my friends that I hang out with, I realise that if I’m all about what I do that’s going to last for maybe 5 minutes. That’s not how I want to live my life. I don’t even think it’s a big deal.

I don’t want people to think it’s a big deal that I play music for a living. I just want to hang out with people that I get along with, that like me and we can joke around. You’re not what you do.

You’re who you are, how you act and how you treat other people.

What kind of gear do you use?

I play a Fender Precision bass and I have a bunch of different ones. I play through an Ampeg SVT head and an Ampeg cabinet. I try to keep it pretty simple because over the years I’ve tried

different basses, different amps, different everything and you might be happy with it, you might not be, you might question it, “Oh, what’s going on now, it doesn’t sound good.” But with my Fender and my SVT – when I grew up and started listening to music that was the bass and amp that almost every band I listened to played and that I grew up loving. So at one point I thought if I can’t make this sound good and if I can’t be happy with this then I need to stop. Because this is the tool set that I love. I really just leave it at that and if it doesn’t sound right then it’s me.

If you could sponsor one beer brand what would it be?

I like a lot of craft beers here in the United States.

Everyone’s coming up with their own beers. I like a lot of German beers because they don’t mess around. They have a law that says you’re only allowed to put 4 ingredients in this beer and don’t mess around with it so anything German is pretty decent.

BY MATHEW DROGEMULLER Yesterdays is out now via Epitaph Records

CELEBRATING IMPERFECTIONS Frank Iero has had a diversely successful music career. He has written lyrics and sung for post-hardcore group Leathermouth and toured with his electronic-hardcore band Death Spells. Oh, and he was the rhythm guitarist in My Chemical Romance. Now soaring solo under the name Frnkiero And The Cellabration, he has signed to Staple Records and his debut album Stomachaches is out August 26. Despite his success and having a chronic stomach condition, Frank remains one of the nicest and most genuine musicians in the biz. I chatted to him about the recording process, the theme songs he writes for his family, and how he feels revealing his most personal music yet.

Is it Frank or Frnk?

Whatever you can muster!

Congratulations on your album. It sounds like you had a lot of fun.

I did! I had a lot of fun experimenting and doing different shit, trying things and seeing what would work to make the emotions come to life.

How long did the recording process take?

It was split up over time. My friend Jarrod Alexander who played drums on the record flew out from California and we did the drums over maybe 4 or 5 days. Then I had shit to do, and didn’t come back to getting the core tracks down until months and months later. So it just sat there as drum tracks for a while.

One song called Joyriding didn’t come until much later so I had to play drums on that, which is why if you’re listening to it you might think, “These drums aren’t up to par!” Some of the later songs are all just me programming too. I would say close to a year all up.

You’re known for playing SGs and Les Pauls.

Have you used any other guitars on this album?

A few years ago I made a guitar with Epiphone called a Phantomatic. That was my main guitar on this record. But I also used a few extra. I got to use every guitar that really truly meant

something to me. I think there was a conscious effort to do that. My first guitar I ever got – my dad got me from a friend – was a Fernandez Strat copy. That made it on the record a couple of times, which is fun. The second guitar I ever got was a Guild Les Paul semi-hollow body and that was given to me by a great uncle and that even made it on the record. I felt like these important instruments needed to be on there. The stars aligned on it because a lot of them ended up being the perfect sounds for what I wanted.

You were really interested in the limitations of recording and working with low-budget recordings.

One hundred percent. Some of my favourite recordings are demos. To me that was the original intent: the song in its purest, most honest form. For me at least, my favourite things off records are the mistakes. I love to hear that, knowing that a human was in a room making this and they’re not perfect. That human element, I attach to. When doing this record that was a promise I made to myself. No matter what it needs to be pure in heart. As much as I may want to go in and do this a hundred times and tweak this and make it 100% perfect, it can’t be. Nothing’s perfect because I’m not perfect.

There are some guitars and things on there that I tried to rerecord and ended up scrapping the recorded version and using demo guitar tracks.

PG. 26 / MIXDOWN NO. 245 / SEPTEMBER 2014

What’s your favourite band out of The Used and Taking Back Sunday?

That’s not nice! Both bands were nice enough to take this project out on tour and give us our first tour. Not to mention, both of them were nice enough to take my other band on one of our first tours. So in my book both bands are fucking aces.

You put so much into these songs. It must be confronting to display them to people.

In making them I didn’t feel like I was writing a record to put out. I just wrote songs because I needed to in order to keep my sanity and keep my mind off of how I felt physically. At the end of I was like, “Oh my god, I have a record, I guess I should put it out.” The good thing about that is that I never censored myself in the writing of it.

It’s like letting people read a diary.

Were there any songs that you thought about keeping them back and saying, “this is just for me”?

There are! There are a few that I kept just for myself. A few I wrote just for my kids. I thought it would be really awesome if each kid and my wife had a theme song. Like a character in a movie where every time they come in this song plays.

So those songs are just for me. We have this

amazing thing called Sonos. You put portable speakers in different rooms and then there’s a box that you hook up to your wifi and then you can control from your phone what songs play in all different rooms. So I have that and whenever my daughter Lily comes in, if I feel in the mood, I hit the button and her theme will play. They are super into it. I would say second to the Frozen theme song.

There are some love songs on the album, for example She’s The Prettiest Girl At The Party And She Can Prove It With A Solid Right Hook.

That’s a true story. That was one of the earliest times I hung out with my wife. We were at this party and there was this drunk girl that she didn’t like. It just so happened that the drunk girl was walking around the party asking people to punch her in the face. She asked a bunch of people, they all said no, but when she finally got to my wife she couldn’t even finish the sentence and my wife cracked her so hard in the face. That was when I knew she was going to be my wife.

BY MATHEW DROGEMULLER Stomachaches is out on Staple Records on August 26.

ESCAPE THE FATE KEEPING THE PEACE Every year Soundwave brings a staggering assortment of the globe’s leading heavy-minded musicians down to Australia. Festival promoter AJ Maddah might have a divisive public persona, but Soundwave regularly garners statements of affection from the participating performers.

“We’re very, very excited to be on Soundwave again,” says Escape the Fate vocalist, Craig Mabbitt. “Last time we came we had a fantastic time. It’s one of my favourite tours to be a part of.”

The Las Vegas metalcore tearaways haven’t visited our shores since 2011. In the ensuing period the band released its fourth LP Ungrateful, as well as undergoing a series of member changes. Mabbitt eagerly awaits the forthcoming Australian visit, but it’s not long since jumping on tour was a far from ideal prospect.

“There’s a lot of times in the past when I didn’t even want to leave my bunk,” he says. “Everyone was wandering off from the tour bus and doing their own thing throughout the whole day. I’d end up at some random bar down the street drinking a beer by myself, eating some mozzarella sticks and I wouldn’t see the guys until we went on stage. Then I’d go off and do my own thing with a couple of fans after the show and wander onto the bus somehow, blacked-out wasted and pass out.”

Mabbitt’s renewed enthusiasm directly relates to the departure of certain uncooperative band members. Just a few months on from the release of Ungrateful, longtime lead guitarist and key songwriter Bryan Money, and his brother and rhythm guitarist Michael, left the band. Mabbitt describes the hostile recording sessions that preceded their exit.

“It was so all over the place, members weren’t satisfied, members didn’t want to do certain things.

Finally, once you were so grateful that the album’s finally done, another one of your members decides ‘Well I’m not going to tour anymore.’”

While the departure of the Money brothers (as well as original bassist Max Green) initially looked like a crushing blow, Mabbitt says it’s been crucial in securing Escape the Fate’s future. “Now I’m on the road with a group of people I want to hang out

with.”

Indeed, the band’s newly appointed lead guitarist Kevin Gruft has actually been part of the Escape the Fate family for years. “A lot of our diehard fans already know Kevin because he has filled in every single time the other members didn’t want to tour.

This is a guy that’s been around for years in my life, that I’ve been friends with for years.”

Meanwhile, the unsavoury circumstances surrounding Ungrateful haven’t impeded on the public’s embrace of the record. Not only was it the band’s second successive US top 30 debut, it’s the biggest Australian chart success in Escape the Fate’s career.

However, having had over a year to distance himself from the convoluted recording process, Mabbitt doesn’t believe it’s the band’s crowning achievement.

“There’s some hits and some misses on this record for me personally. I’m ready to go back into the studio and do something brand new and just go full force within that.”

Yes, with intra-band harmony firmly re-established, Mabbitt looks forward with pronounced optimism.

“You just keep going and you’ve got to give thanks to the fans that are sticking by you through all of that. Once you jump all of those hurdles, the pay off is going to be worth it.

“I’m very, very excited to get into the studio and do a record as a band again – as a group of people that are all on the same page and they all want the same thing.”

AUGUSTUS WELBY

TOUR DATES Appearing on Soundwave Festival 2015, see Soundwavefestival.com for all the details.

PG. 27 / MIXDOWN NO. 245 / SEPTEMBER 2014

VANCE JOY TINY GUITAR, BIG HEART Vance Joy, a.k.a. James Keogh, has made his way from the Melbourne open mic scene to the U.S. Top 100 in a mere two years, collecting ARIA Song of the Year for ‘Riptide’ along the way. As the only artist to top Triple J’s Hottest 100 without even releasing an album, he’s happy, but not content. Mixdown chatted with Joy, who was ironically prosaic in person, about his debut LP Dream Your Life Away, playing a song with Julia Stone, and his recent Maton endorsement.

How does it feel to have collected so many credentials in such a short time?

It feels good. I think I’m pretty fortunate. I guess when you’re in the eye of the storm you can’t look back on what you’ve done because you’re still going. You think there’s going to be a moment when you’re chilled and have a really good perspective on things but I’m probably not at that point yet. I think ‘Riptide’ is a monster and I’m still in the wave of that song internationally. I haven’t had much time to think too much about it. I guess I’m ambitious in some ways so it’s good to have done all these things. I feel good but I also feel like “what’s next?” I’m eager to write more songs.

ideas for further albums?

I always have a few ideas like odd socks floating around. Sometimes they get written when they want to and sometimes a deadline will help them come into existence. Sometimes they’re just annoyingly nagging at you. It’s probably a good thing to have a few things nagging at you because I’ve always got a few things I can retreat to and think, “Maybe one day this song will be ready.” It’s good and frustrating. I think a lot of songwriters have a few things they haven’t found a place for yet.

How does the album compare to the earlier EP? It’s similar. A lot of the songs are written in the same time period so a lot of the characteristics are the same in terms of my songwriting. You have your own tool kit that you use in every song. It’s potentially more polished or produced. Instead of the EP, where we recorded every song in one day, we had more time to sit on the songs, so they’ve been smoothed over a bit, production-wise. The essence is still the same. The instrumentation is usually subtle and carefully thought out. The voice is right at the top and intimate and raw. Those factors are a bit more consistent and polished.

What was the studio process like and what gear did you use?

We recorded with a guy called Ryan Hadlock at Bear Creek Studio in Seattle. What he’s done on a few songs has really created a live feel. Using an Ampeg and a Fender amp and something called a Reverberocket, and I really like the tone he gave to my Maton. We used an old Casio keyboard in a few songs which we bought and started using live because it’s got an artificial but good sound.

I like the collision of the depth of an acoustic instrument with a synthetic sound; it can be really effective. Miking up the room gave it that feeling of space. When you close your eyes you can imagine watching us play the songs in the same room.

You’ve said that the songwriting process was not rushed in any way. Did you put all your material onto this one album or do you have

How did you get endorsed by Maton?

My dad bought me a Maton in 2007 and I’ve been using it since then. They got wind that I

MESA COSA

use a Maton and were kind enough to give me a backup. I’m committed to wear in the guitar my dad gave me and see what happens to it. I still love playing old piece of shit guitars I have lying around the place. I like playing my Maton live because it’s been a reliable and hard working guitar, but the ones I like to play for songwriting are the bits of crap. I like to pick them up for something random.

Do you play a Maton ukulele?

No, I play a Kala. I bought that the day before I recorded “Riptide.” I had this really crap ukulele; I stuck a pickup on it when I was playing my first few gigs. So I thought I should get a better one.

Most people describe your music as indie-folk.

What do you think of the label?

I just write songs and it’s really not limited because it’s just acoustic songwriting really, so your inspiration can be pretty varied. I’m basically

just writing pop songs and they’re acoustic so that’s the sound that comes out as a result.

What was Julia Stone like to tour with?

Lovely. She’s a really good songwriter and a really nice person. That was fun because I was just doing a solo thing so I got to just hang out. She let me come up and play ‘Santa Monica Dream’ with her and I played the Angus part on the electric and sung some harmonies. I’ve never sung harmonies in my life but she was a good coach and I think she was quite forgiving. It was my first tour. It’s pretty special being able to share a song with someone, especially a song like that.

BY MATHEW DROGEMULLER

Dream Your Life Away is out September 5th via Liberation Music.

DOING IN TOGETHER While Melbourne has a strong live music culture, in some respects it’s disadvantaged by its size. Comparatively it’s rather large, especially when examining punk, rock and garage alone. Consequently the environment can be often cluttered and sometimes a little competitive. For the punter it means that we’re spoiled for choice, but for artists it means that opportunities might not come by as frequently as you’d hope, and in order to really break through, you have to do a great deal of work on your own.

It’s not an entirely modern philosophy. In fact, it seems rather ironic that Melbourne’s punk culture seems rather cliquey when punk itself was famously built on DIY foundations with community in mind. I’m not for a minute suggesting that the scene is pompous or petty, just that the competitiveness of the environment breeds scenarios like this, with successful bands unwittingly perpetuating the cycle of exclusivity.

As they grow and prosper, every decision they make becomes more important.

Few bands in Melbourne can honestly say that they possess that core DIY ethos as tightly as Mesa Cosa. That’s not to say that their entirely outside of any cliques, but they’ve certainly spared no expense in getting themselves to where they are today, and put more effort into furthering music in Melbourne, and more broadly, all of Australia than most bands playing today. We spoke to the guys from Mesa Cosa about building community in Australian music as a band themselves, and also with their touring house Bone Soup.

“Mesa Cosa has always been a bit of a random band. It’s never really fit into a real scene, or genre or style. We got frustrated by this and wanted to do some solid international supports.

At some point we realised we had the will power, and we had the cash in the bank to bring out the people we loved, and so we just did it. We got to play with bands that we loved… At the end of the day, we really believe in ‘Scooby Doo adventures’, and believe in being a gang, and we’re all about keeping the dream alive, touring

around Australia, and meeting cool people. We thought, well we don’t know how to get these gigs, how about we just go out there and do it ourselves and get them all ourselves, and lets get everybody involved and lets make it free and lets make it inclusive.”

It’s hard to broaden your horizons and look at the big picture. The vastness of Australia is a confronting thought for a band when you consider the expenses involved with moving half a dozen people and their gear across state boarders, but it hasn’t deterred Mesa Cosa.

“I think that Perth and Adelaide need a lot more love, and bands should go out of their way to make it out there. It’s not the financially viable option, but we’ve got to forget about money and start thinking about community. I think it’s really important for people to build bridges there. We need to stop thinking ‘how are we going to make this work?’ and just start throwing ourselves out there. We don’t really I mean, if four or five bands started building that bridge, we could really make something work and make the cities start working together.”

To describe Bone Soup as a bold venture would be an understatement. Bringing out bands seems all good and well. Touring with them seems like a great way to spend the summer months, but it’s easy to get blindsided by the fun and overlook the hard work involved in getting to that point. How do you physically do it? How do you start a venture like that?

“We just got in touch with some bands by email.

You know, we’d say ‘hey can I buy a t-shirt, I love

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your band; do you want to come out to Australia?

We don’t really know what we’re doing, but we can make it work”. Sometimes it feels a little too competitive and people are a little too worried about finance and how it can work, but these things are dying. If you can pay the rent and do something you love, your winning, so we’re trying to make it happen. We’re really into the artwork, the bands and the promo, because we love being in a band, and we love bringing out these bands. We’ve lost money, but we’ve learnt lessons.”

“I hope that we’ve cut a path. I mean if anyone asked us how to do it, I’d be more than happy to tell them. The most important thing to do here is to not keep secrets. Everybody should benefit from it. There might be an old order that’s really cliquey, but I think it’s really important to be really inclusive and sharing with our knowledge.

We’re trying to do things DIT. Not DIY. Not do it yourself, but do it together. So when we have parties, we say ‘hey, bring amps, bring lights, bring whatever, we’ll do it all together’. There’s a bit of high school territorial-ness in Melbourne, but that’s just because we’re spoiled for choice,

so that’s naturally going to happen. I want to break that. Everybody is totally welcome to enjoy everything we do and have fun.”

Say what you want about Mesa Cosa. With all the distinctive punk and garage sounds coming out of Australia at the moment, the palette of the average punter has been refined dramatically due to the saturated market. You might not like the way they sound, but any punk worth their salt should take their hats off to the way they go about it. Few bands in Australia have gone to the lengths that Mesa Cosa has to secure the cultural integrity of local music.

BY KEATS MULLIGAN

TOUR DATES September 6 – The Northern, Byron Bay NSW September 7 – Sounds of Sunday, Gold Coast QLD September 13 – Barwon Club Geelong VIC September 17 – Rad, Wollongong NSW September 18 – Frankie’s Pizza, Sydney NSW September 19 – Croation Club, Newcastle NSW September 20 – The Phoenix, Canberra ACT September 26 – The Curtin, Melbourne VIC

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INTERPOL EL PINTORS NEW PALLETTE

The so-called new rock revolution, which occurred at the turn of the 21st century, has since become the stuff of legend. Essentially, there was an outbreak of bands reviving the unkempt sounds of garage rock and postpunk, which had largely been neglected in the previous decade.

At the centre of this movement were three outfits from New York City – The Strokes, Yeah Yeah Yeahs and Interpol. These bands’ debut releases incited immediate critical fervor, to the point of being deemed ‘instant classics’. All three bands still possess festival headliner status today, but it’s fair to say that the excitement of the initial breakthrough hasn’t been repeated.

Perhaps our expectations are skewed by nostalgia, or we’re simply asking for too much.

Regardless, when Mixdown catches up with Interpol guitarist Daniel Kessler ahead of the band’s fifth LP El Pintor, he says that living up to expectations isn’t a practical concern.

“After we put out Turn on the Bright Lights, I realised the best thing you can do is write the things that make you feel like ‘this is what I want to say’, that this is a step forward. If you’re trying to please other people in general, you’re not really comfortable in your own shoes. If you’re happy with what you create then you just have to have faith that people who like what you’ve done previously will give this a chance and will feel the same way.”

Interpol hasn’t struggled to release a stack of quality music since 2002’s iconic debut, Turn On the Bright Lights. Taking cues from 1980s post-punk and indie rock greats such as Joy Division and The Smiths, the band’s first three records explored fairly distinct stylistic territory with consistent success. However, on 2010’s lacklustre self-titled LP, it appeared as though they’d succumbed to creative inertia.

In the four years since that record came out, original bass player Carlos Dengler left the group and vocalist Paul Banks and drummer Sam Fogarino both pursued other musical ventures.

Kessler says it wasn’t always certain that there would be another Interpol album.

“I don’t think I’d take the band for granted enough to say that ‘I have to make another one.’ You make a record because you want

to make a record and because you feel like you have something better to say. There’s no set knowledge that this is going to happen. It happens because we have something to say.”

During the down time, Kessler himself kept working on music. While at first he wasn’t writing for a new Interpol record, he inevitably began framing his compositions in the context of the band.

“I was just trying to play music every day,” he says, “but then, songs do come about on their own, and I get excited about the prospect of working with my band mates on it. Usually the songs begin with me. If I get really excited about something and really into it, I arrange it in a certain way. If I see the potential for how it could become a piece of Interpol music then I start looking forward to that process where we get to all dip our fingers in it and transform it into an Interpol song.”

Eventually, Kessler’s enthusiasm for his own fresh ideas encouraged him to reconnect with frontman Paul Banks and start work on what would become El Pintor. However, how they would make up for Dengler’s absence still hadn’t been addressed.

“Paul and I got together for like five days in August 2012 with no agenda,” he says. “He brought with him his guitar and bass and he was like, ‘Hey maybe I should start with the bass because I tend to sing to bass lines.’ I didn’t know how excellent of a bassist he really is. In the first few days we made pretty great headway with a couple of the songs that are on the

record, ‘My Desire’ and ‘Anywhere’. There were enough good things happening in the room that we weren’t sitting thinking about ‘OK, what’s missing?’”

While Banks’ bass playing proved an asset in the songwriting process, a decision about who would perform bass duties on the album wasn’t made until just prior to entering the studio.

“We kept everything very open as far as whether Paul would play bass or whether we’d get someone to help us out,” Kessler says. “Then it was like, ‘We should just let Paul do it. He’s great, he wrote these parts.’

“We just crossed each chapter as we came to it,” he adds. “We were in the moment and nothing really required us to be out of that moment whenever we were together.”

Indeed, this relates back to Interpol’s sole

ANTHONY FANTANO

commitment to the art itself, rather than extraneous details. El Pintor lands on September 5 and Kessler doesn’t hesitate to describe it as a step forward.

“I’ve never been someone who cares about chops or how good you can do this. It’s really about what you say when you’re saying it. That’s about it really.

“It’s never showing how good you are, just to show how good you are. You see it by virtue of the ability to enhance the piece of music you’re working on. I see the progression there. I see us becoming a better band, truthfully.”

BY AUGUSTUS WELBY Interpol’s new album El Pintor is out September 9.

THE NEEDLE DROP

The impact of the Internet on the music industry is inescapable. Its influence can be perceived in both a negative or positive light; for some artists, the Internet can help to open doors, while it can have the reverse effect for others. The wonderful world of music blogging was once but a twinkle in the eye of father time and the technological revolution, yet now, the online realm offers information with an immediacy that’s impossible to replicate through any other source, to an audience unparalleled by any other medium.

Of course, the Internet isn’t the sole supplier of information, and it, like all other platforms, has its shortcomings. Still, its impact has been vast, and without it, contemporary minds like the world’s busiest music nerd, The Needle Drop’s Anthony Fantano, wouldn’t have the stage, nor the audience for him to make the mark he has on the music world.

Like many who’ve tried their hand at music blogging, Fantano first cut his teeth through more traditional avenues of broadcasting before he eventually became the self-made human vault of musical knowledge that he is today.

“It all started in about 2007,” he recalls. “I started doing an independent music radio show at a local radio station. The particular station I was interning at had recently gone from an all classical station to a news and talk station, so they were repeating a lot of content. So I decided to put together a demo or two and I handed it to the general manager of the station, and they liked what I was doing.

“We started out doing it as a podcast,” he continues. “It then eventually got on the air.

At its highest point it was running on twelve different radio stations. I started a blog within a year’s time where I was doing the music blog and the podcast. But I wasn’t really getting paid to do the radio show, I wasn’t making much money off the blog that I was running, I didn’t

have a lot of prowess when it came to web design and I didn’t really have the money to pay someone else to put together a really cool website. So after about a year and a half of doing the podcast, this radio show and running the website, I decided to experiment and try doing music reviews and music recommendations on YouTube, because in that year and a half I was observing the blogosphere and various popular music websites, I really hadn’t seen anybody try to review music on camera, so I figured I’d be setting myself away from the pack in some kind of way.”

From that point, Fantano has gone on to become the self described ‘world’s busiest music nerd’, a title that surely enrages some rather busy music nerds around the globe. Although truthfully, it’s hard to take issue with the title. The Needle Drop examines, in detail, an awful lot of music from a vast selection of styles and genres, all while pioneering YouTube music journalism.

“I’ll try to make sure I listen through at least one or two new albums each day,” Fantano explains.

“I get music from a lot different places. It’s definitely mainly keeping track of the output of a lot of different music labels that I happen to follow religiously. There’s so many labels that do stuff that I look for: Warp Records, Constellation Records, Temporary Residence, Limited, Ghostly Internation, Mellow Music Group, and also

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keeping track of artists that I know that have a lot of buzz about them that are still putting out notable releases, or that viewers are asking me to take notice of. There’s also music blogs that I follow. There are some metal blogs that I like to follow and some hip hop blogs that I like to follow too. Like I said, I get a lot of it from the Internet, but it also comes at me from all angles.”

Though the popularisation of the Internet has afforded Fantano the opportunity to listen to, talk about and recommend music as a career, in his mind it’s not entirely without it’s negatives.

The contemporary music cycle is remarkably different from the way it was, and not necessarily for the better.

“In my career its had a lot of positive effects,” he says. “I can do this show and can work for myself, but the negatives are balanced by the positives. I was talking to my wife about this the other day, and we’re both old enough to have lived through points of mainstream music distribution, when record labels were in control of what was popular and what wasn’t. There were definitely headaches that came with that.

At some point in America, labels tried to give us this idea that swing music was having a revival or some bullshit, and were putting out really awful faux-modern swing bands like the Cherry Poppin’ Daddys and so on and so forth. There were a lot of forced trends, but at least there was a certain level of talent required. Labels were at least putting time and funding into these artists so that they could mature and progress and make good music. Now days, there’s a lot of underground artists who get a ton of buzz really quickly when they don’t really have a lot of knowledge of experience when it comes to performance or songwriting, and not that they couldn’t get that, but the lack of money that

they’re making, and the force with which they’re thrown into the limelight prevents them from getting the chance to mature, and by the time their next album cycle comes around a lot of their fans are really not interested in what they’re doing, or I should I say their supposed fans, who aren’t fans anymore and are now fans of whatever hot buzz indie artist is popular next. There are a lot of people that don’t seem to be ready for the rush of fandom that comes, and don’t really know how to act in the limelight. Without that PR and marketing and without knowing how you’re going to keep people interested into the future, that limelight fades really quickly, and that’s most definitely a negative. A lot of these artists don’t really get a second shot – as soon as people stop paying attention to them, they’re kaput.”

BY KEATS MULLIGAN

TOUR DATES

Anthony Fontana will be touring Australia talking about all things music.

September 10-12 - BIGSOUND Brisbane September 14 -The Northcote Social Club and The Toff in Town in Melbourne September 16 - The Paddington United Church, Sydney September 17 - APRA AMCOS HQ, Sydney.

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JMC ACADEMY ALUMNI PROFILE: DANA BROEKHUIZEN

Degree and Graduated: Bachelor of Entertainment Business Management 2007 Since graduating from JMC, what have you been up to in the industry?

After graduating from JMC I interned and worked at numerous jobs in PR and events management to gain further on-the-field experience. I achieved an entry level position with one of the biggest caterers in Melbourne thanks to my studies and experience, and began work in corporate events and weddings. Since then, I took on an events coordination role in the Whitsundays, took on my first management position with a start up events venue in Sydney, was taken on as Groups & Incentives Manager

by Club Med in their Bali resort, and I have just moved to Bintan Island, Indonesia in the same role with Club Med. What skills did you gain through your studies at JMC that are helping you on your current career path?

My course at JMC taught me a variety of skills in a broad range of subjects, none the least being resourceful and flexible. From basic accounting and book-keeping to full on tour itineraries and festival plans, we covered a lot of real world scenarios that are easy to apply to my job.

Doing the course helped build my confidence and people skills, as we worked with the other departments in the school to create projects and the final assessment task at the end of the year. Teamwork, sharing knowledge, working together, compromise, time management,

industry and inside knowledge, technical expertise, resourcefulness, creativity, research skills, gathering information, it all came together in our projects, and I apply them every day in my events job to this day. Our class was also quite international, we built what are now global connections and were introduced to a variety of people who were doing and interested in the same things on a global scale.

What did you like most about studying at JMC? The variety of topics, the real world anecdotes and examples used, and the practical application of the skills we were learning in class. We learnt the benefits and nitty gritty of website design – and then designed our own website.

We discussed the rock n’ roll tours that our lecturers had organized and been on, and then created an in-depth real-world tour plan for across the US. We learnt about Business Plans and their importance, and then created one for our own business that we could pick up and put straight into use.

We explored research methods and topics, and composed a survey to judge the practicality of our business. Every topic came with a practical and realistic way that we could apply it to our own business or job. The setting was also very casual and informative, with our lecturers comprising of those that had worked with the likes of Ice House and the big tour and publishing companies.

Again, they were able to tell us accurately how the industry worked and evolved, from an insider’s perspective. The theory we learnt was backed up with their experiences, and they

were able to connect us to many contacts in the industry.

From these lecturers, I was able to (amongst other opportunities) volunteer at The Age Harvest Picnic. Here I gained further contacts which eventuated into me being a key founder of the Lara Food & Wine Festival in my home town, an event now in its 7th year which took on 10,000 visitors in its inaugural year and eventuated to feature personalities such as Matt Preston, Catriona Rowntree and Gabriel Gate.

Highlights of your career to date?

The first big highlight was working interstate on a navy ship XBox gig for Fall Out Boy. I’ve also had the chance to work at major events in Melbourne such as the Spring Racing Carnival, Australian Motorcycle Grand Prix, AAMI Kooyong Classic, Formula 1 Australian Grand Prix, Big Day Out, etc. I’ve also been able to be involved in the filming of a few MasterChef episodes.

Having the skills, education and experience to score an overseas job in Bali doing events is also a standout! The move overseas has definitely been the best thing for me, as my confidence and skills have improved to no end.

Any advice you have for anyone wanting to enter into a career in events?

It’s exactly what everyone says - work your butt off, gain experience in as much as you can, get to know people in the industry, love what you do and don’t give up. There is no secret – it’s all about timing, people and persistence. Create favorable circumstances and make your own opportunities.

CONTACT DETAILS: Phone: 1300 410 311 Website: www.jmc.edu.au

THE GROVE STUDIOS

STUDIO PROFILE

Where are you located?

The Grove is located only one hour north of Sydney CBD and 10 minutes from Gosford CBD on 25 acres of natural bushland and gardens in the middle of Strickland Forest. The tranquil setting provides plenty of opportunity for inspiring nature walks and guests may make use of the pool (or outdoor jacuzzi) and BBQ facilities overlooking sweeping views of the valley toward Tuggerah Lakes in the distance. We supply transport from Sydney and Gosford and have plenty of accommodation for guests to stay on the property where they can write, record, mix and master. Those flying into Sydney Airport are also welcome to make use of the helicopter service we provide for those who like to arrive with speed and style.

What are your hours of operation?

We operate 24 hours a day - the creative energy one finds at The Grove has no limits or boundaries.

Tell us about the history of the studio.

The property was built by Gary Beers from INXS in the 1990’s and was taken over by the current owner - acclaimed record producer and A&R executive Scott Horscroft in 2014. As well as overseas guests, The Grove is home to many Australian artists, boasting credits from legendary bands like Silver Chair & Birds Of Tokyo to current electronic artists such as Alison Wonderland and Tkay Maidza.

What are the studios digital/analogue capabilities for recording?

The Grove has 4 active studios including: The SSL Room A state of the art recording & mixing facility equipped with one of the world’s most successful mixing consoles, The Solid State Logic (SSL) 56 channel E/G 4000. The SSL Console is supported by a stunning collection of modern and vintage outboard gear, effect units and microphones including the famous Neve 1064 microphone pre amps and a matched pair of Gunter U47 microphones. Protools and 24 track tape are both available for digital and analogue advantages. The large recording spaces include

an orchestra room with connected wooden panel and stone isolation rooms - perfect for bands looking to capture that extra ‘in-themoment’ musical interaction. The SSL room has an accommodation wing that provides spacious bedrooms, a kitchen and multiple lounge rooms overlooking parklike grounds and bushland. A private self-contained “Producer Cottage” on the other side of the lake is also available.

The Harrison Room Designed around the legendary 4032 Harrison Recording Console famous for its unique sound used on such recordings as Michael Jackson’s ‘Thriller’ & Led Zeppelin’s ‘In Through The Out Door’. This studio also has three separate classic recording spaces and isolation booths suitable for multi-track live recording and overdubs of any scale. The Harrison Room also has access to a unique collection of amplifiers, keyboards and electronic musical toys as well as its own private relaxation quarters with bathroom and kitchen and has access to The Grove’s grounds and facilities to take time out.

The Residence The Residence offers a unique space for Mastering, 5.1 film sound and for your writing or production get-away. Catch ideas by the fireplace or slip into the control room to play with vintage keyboards and the renowned “Swiss Neve” 12 channel Studer Console. The Residence room is designed for that special getaway project that requires a comfortable and unique environment. The Barn is a space for work-shopping your next project. The Barn can be used for writing, pre production, rehearsal or demo recording projects. Equipped with Pro Tools & Logic Production Suite and Vocal PA, “The Barn” is a perfect space to get your band up to scratch and work through your recordings before moving to the main studios at The Grove.

Are there any instruments available for use or hire whilst recording?

In addition to the acoustic pianos, classic amps, drums, vintage synths and other musical toys currently in the studios, The Grove is proud to announce the development of an integrated Music Store. This new initiative will provide guests with the chance to purchase items

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for their recording needs and potentially the opportunity to hire exclusive items that can add unique qualities to their recording experiences.

Who are your engineers/team and what is their experience?

The Grove is rapidly expanding with a team of producers, writers, engineers and assistants.

The highly experienced and successful team includes legendary Scott Horscroft (Silverchair, Birds of Tokyo, Alison Wonderland), Matt Lovell (Something For Kate, INXS, Grinspoon), Burke Reid (The Drones, DZ Death Ray), Andy Mak (Boy and Bear, Tina Arena), Paul Iannuzzelli (Natasha Bedingfield, Paul Jones), Josh Telford (Amy Meredith, Katie Noonan), Jackson Barclay (Alex Bowen, Winterbourne, House Engineer/ Assistant to Scott Horscroft) and Peter Holz (Christine Anu, Jessica Mauboy). We also have Luke Munns, Anthony The and Ryan Hazel recently joining the team.

Are people allowed to use their own engineers in the facility?

Yes, artists and producers can bring their own engineers although we have an extensive team of qualified and expert engineers to choose from. The SSL room comes with an assistant (happily provided by The Grove), and we can also help the creative flow in the other studios by

providing assistants who know their way around the different setups.

What is The Grove planning for the future?

The Grove has begun developing a comprehensive Education and Training department including Short-Term Intensives, Long-Term Courses and Internship Programs.

These aim to be extremely practical and provide opportunities for participants to be in the midst of top-level industry experiences.

The Grove is also looking at the development of part of the grounds into a large out-door amphitheatre to accommodate planned minifestivals and concerts.

Are there any packages or giveaways?

The Grove has a series of competitions coming up with great prizes and give-aways. Mixdown readers can get in early by sending their material to info@thegrovestudios.com for our soonto-be announced Best Song, Best Band and INDIE UNCOVERED competitions. The Grove also offers package give-aways with writing, pre-production, record, mix, master and video combinations.

CONTACT DETAILS: Phone: (02) 4362 3299 Website: www.thegrovestudios.com

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UNLEASH YOUR INNER ROCK GOD MY HOME RECORDING SETUP

GUITAR

Like most of us reading this, I don’t have my own recording studio, but I have something that I can brag to non-musicians is a recording studio. In other words, there’s a bunch of shit cluttering up my study that I can record songs on that sound pretty good by my ‘hey, don’t blame me - it was recorded in a study’ standards.

My recording setup has evolved with technology and finances, but it’s still pretty minimal, and maybe it’ll give you some ideas for how to get the most out of what you’ve got or can get access to. If you want to record a full live band, this is not the column for you. If you love to play guitar and you want to record stuff at home that works for you, read on!

Okay, so for starters, I typically record onto my Macbook Air these days. It’s more powerful than it looks, the battery life is decent and it’s very low-profile, which is great because if there’s anything that can throw me off my game when I’m recording its feeling cluttered. I record onto an external Seagate 1TB drive, and I use one of two interfaces: an ageing DigiDesign Mbox 2 Pro (for if I need a mic preamp or two to record my cranked Marshall cabinet or my AxeTrak isolated speaker cabinet), or a PreSonus GuitarJack 2 USB, a deceptively flexible unit which has a high impedance 1/4” input for guitar, 1/8” stereo mic/line input and a headphone output, and can be used with my iPad and iPhone as well. High impedance for a device like this is very important because it helps your amp modelling software to more accurately replicate what would happen when you plug a guitar into an amp in the real world. If those impedances are mismatched you’ll loose all the dynamics and details coming from your guitar and it’ll sound synthetic. When I’m plugging into the front of my Mbox I go through a MOTU Zbox, which does the same thing and has two inputs - one for passive pickups and one for active.

My recording program of choice at the moment is PreSonus StudioOne, which I find to be very practical and powerful, but not as system-

intensive as some others I’ve tried out. If I’m not using my Marshall and the aforementioned micing, a Shure SM57, or a Samson Meteor USB mic (although that seems to be clashing with StudioOne so if I’m after the more natural sound that it can give me, I’ll record it in Garageband then bring the file over to StudioOne), I like IK Multimedia AmpliTube 3 and Native Instruments Guitar Rig 4 amp modellers. AmpliTube seems great for multi tracked guitars, while Guitar Rig utterly kills for things where a single guitar track takes the lead. I’m also messing around with a beta version of BIAS Plugin that I was recently sent by Positive Grid; their BIAS smartphone/ tablet app is really incredible, and the plugin version is already great in beta version so it’ll crush when it’s finalised and released. I used to use a Radial ProRMP re-amping device to send the dry guitar sound back out to my amp for more sonic options but I decided to stop doing that and sell the ProRMP on eBay for two reasons; I needed the money to go to the NAMM Show in California, and I really feel that you get the best sound when you’re actually interacting with how the amp responds, and each amp is different so you never know if what you recorded with AmpliTube at midnight will work when you re-amp it through a Marshall at midday.

For drums I currently use Native Instruments Session Drummer, which offers you plenty of control over the tuning, sound and processing of each of its three kits. I like to go for more naturalistic drum sounds, so I either draw everything in via the MIDI edit window and then spend aaaaages going through each note individually to adjust its timing and velocity to sound more like a real drummer, or I tap out my

drum parts using IK Multimedia’s iRig Keys, a handy mini MIDI keyboard which you can also use with iOS devices. Adjusting the MIDI note velocity is very important to creating a natural feel because if you leave everything at exactly the same velocity, the exact same sample will be triggered each time which isn’t exactly great for expressive music. I’ve found that for rock stuff the kick, snare and tom samples tend to sound best when you use harder velocity settings in the 95-120 range, while the hats often sound better if you use softer ones. I arrived at this conclusion by using my MIDI keyboard to tap out various kick/snare and hat rhythms of different velocities,

recording the results so I could zero in on the good bits with my ears. Only then did I turn on the option to view the velocity settings for each hit, so I could figure out exactly why I liked the bits I liked. Now, sometimes I tap out the kick/snare part separately to the hat part, and combine them later, so I don’t get all muddled and hit the snare too soft and the hat too hard.

BY PETER HODGSON

WHAT’S THAT SOUND THE CRUMAR PERFORMER

KEYS

Italy is not widely known for manufacturing modern electronic instruments, but there was a time around 40 years back when a handful of Italian companies were giving the world market a good shot. One such company to make its mark in electronic music production was Crumar. Their instruments appeared with the likes of Duran Duran and similar bands in the 80’s delivering a sound that was somewhat typical of the era. Sadly, this was not to last and Crumar ceased to trade in 1987 leaving behind a legacy of brilliant instruments. At least, that was until the business was purchased again by another Italian manufacturing company in 2008 that continued the Crumar name and began producing electronic instruments again. However, it is the old Performer that I will always remember Crumar for; this was the keyboard that had the Crumar sound.

MODERN IDEAS IN A VINTAGE FRAME It’s almost like the engineers at Crumar knew just where we would all end up today and designed something that was going to be emulated in so many ways, so far down the track. To begin with, this was a 49-note keyboard. Whereas many other synthesizers of the time tended to offer 61 notes if they were prepared to be housed in a large casing, the Performer didn’t go so far. Although many other synthesizers were manufactured with less keys, generally opting for a range around the 32-note configuration, they were built in such a manner to allow the unit to be compact and portable. There can’t have been a word for portable in the Italian language, because although Crumar offered lesser key ranges, these units were solid, built into a large frame and most of all, they were heavy. But, just like many of the tanks that were built in this era, the Crumar Performer was at least built to last.

So, in the now common format of 49-keys, with the ever so sought after wooden end caps, the Performer almost looked like a vintage re-issue that was actually built in the vintage era.

NOTEWORTHY POINTS Of course, there were many other keyboards on the market at this time offering larger note range, but the Performer did have one advantage over

many of its competitors. It was fully polyphonic in an era of mono-synths. Even though it only had 49 notes, you could actually play all of them at the one time. This is what gave it the ability to create sounds that seemed of another world. You could build complex chords and drag them out over one another to blend them into an ethereal mix that made this unit just perfect for the likes of John Carpenter or even Vangelis.

This instrument had a certain something to its sound that really set it apart from many other keyboards, it was almost like this unit was built from the ground up to work on film scores and dreamscapes.

That said, don’t go rushing out to find a Crumar just yet, you might want to consider what is actually on offer within the sounds these synthesizers deliver. In short, they were pretty rough. You really did need to know how to work the 15 sliders to get the most out of the endless possibilities of bad sounds this unit could create. If you were looking for a synthesized brass sound that sounded nothing like the real thing, you could get yourself a Roland Jupiter-4, or you could save a few bucks and get the Crumar Performer instead. It really did sound like something was going wrong under the hood with the insulting noise it created. But, that was, in a way, part of its charm. It wasn’t a perfect

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student, but it was good at some tasks and was willing to work with you if you were prepared to persist in sculpting a sound.

SIMPLE CONTROL FOR SOME GREAT RESULTS So, it wasn’t all bad when you heard the end product of the engine within the Performer.

Although the brass sounds made you want to cry, the strings were a different story. They had a spooky feel to them and really worked well when the envelope was manipulated to give them a very unnatural response. This is where the Performer stands up as the perfect unit for working on soundtracks and film scores of the 70’s and 80’s. You got some really glassy sounds that were more like special effects than instrument replications, and there was always the ability to keep notes droning on well after the original attack and decay with the extended polyphony offered by the Performer. It has been

likened to the strings sound of the ARP, but it came with a significantly lower price tag, so this gave Crumar the edge over ARP and some other competitors. They had really captured a sound that was quite distinct for that era and managed to package it into a keyboard that was heavy, yes, but slightly compact as well. It may not have been a keyboard that offered a wild array of different sounds, but the Crumar Performer definitely offered some wild sounds. It also delivered one sound that was very usable and very easy to manipulate. So, the next time you find yourself watching an 80’s horror film and you find yourself asking “What’s that sound?”, the answer may very well be the Crumar Performer.

BY ROB GEE

WHAT’S MY RANGE AGAIN? WHAT A PERFORMING SINGER SHOULD AND SHOULD NOT EAT

VOCALS

This has to be one of the most commonly asked questions that I receive as a singing teacher. The subject is generally horses for courses and depends greatly on the individual. For example, it’s like asking an athlete to train their body every day but only eat junk food - the athlete will improve marginally but their body will not recover or repair itself, they won’t feel good or get maximum results and eventually the athlete will became exhausted and their body will begin to break down. Singers need to know and work out for themselves what not to eat and drink and when, just like an athlete.

Otherwise their voice will not function to its full capability and wear out. In this months column I am going to give you my professional opinion on what has worked for me as a teacher and also for my students for the past 20 years.

WHAT TO DRINK The cardinal rule and the only thing a singer should be drinking is room temperature water!

For anyone not familiar with the human body and how we are composed; WE ARE MADE UP OF MOSTLY WATER (approximately 75%).

It is all I ever drink while teaching and when singing. The voice thrives on hydration. Four hours before a show, drink an adequate amount of water and then during the gig sip only water every 1-3 songs. In the cooler months and winter time, I often warm the water up slightly but not too hot. I find that this keeps my vocal cords warmer for a longer period of time. If you have a sore throat or cold, there are countless remedies that I have heard of and tried. Again work out what suits you and works best for your needs.

Drinking spearmint tea, peppermint tea or ginger tea with some honey and lemon is always a great soother for a sore voice or throat. Apple cider vinegar diluted in warm water and honey is also a great soother when you are suffering from a sore throat. Some performers also like to drink pineapple juice as it strips and clears the mucus from the vocal chords. However, drinks that are high in citric acid can sometimes have an adverse affect on your voice by causing reflux or burning on the vocal cords.

WHAT NOT TO DRINK Alcohol, any carbonated drinks that contain lots of sugar, and any drinks with caffeine in them such as tea, coffee and Coke – these will all dry your voice out. If you are consuming these drinks I highly recommend drinking water in between them to keep you hydrated. Many singers swear by having a few beers or even a Scotch or two before a show. Personally, I wouldn’t do this as it will dehydrate you and alcohol only lowers your awareness of technique and pitch as well as slows your co-ordination. I also strongly recommend not eating or drinking anything made from dairy products. Try to avoid milk and yoghurt as this will create phlegm, which sits on the vocal cords and makes it difficult as a vocalist to sing freely.

Avoid any carbonated drinks as these cause excess air or gas. This can make you want to burp and will cause you to feel uncomfortably full while singing.

WHAT TO EAT Keep what you eat very simple and plain.

You should eat a light healthy salad with some complex carbohydrates like pasta, rice and grains about 4 hours before a gig. The carbohydrates will start to kick in right before the show to give you the energy when you need

it the most. Generally backstage before a show there should be something light such as fruit and sandwiches. Fruit and muesli bars are great as they give you energy and are not too heavy. I recommend that you generally graze throughout the day of a show so you never feel too full and then get something substantial to eat after you have finished performing.

WHAT NOT TO EAT Please do not have a big, heavy meal right before you’re about to sing. A stomach full of food is going to adversely restrict the way that your diaphragm and breath support works and this will greatly affect control of your singing. I don’t want to feel full or uncomfortable when I’m singing. Avoid any hot or spicy foods which may come back up and cause reflux and irritation to your larynx, oesophagus and voice box. Stay away from lollies, sugar and throat lozenges as the menthol and eucalyptus can dry out your voice when used over an extended period.

If anything that you eat or drink is irritating or disturbing your voice, just don’t consume it!

It may take a little while to establish what foods and drinks work best for you and your voice and what does not. It is also important to eat at the right time too. Be sure to exercise, have a good balanced diet, stay hydrated, don’t smoke and drink alcohol in moderation. Remember your voice is a muscle; it is part of your body. As well as food, other external factors can also affect how you sound such as lack of sleep, chemicals, alcohol and stress. To be a consistently strong vocalist, singers need to take the health of their voice (and body) seriously! Singers must be disciplined when approaching food and liquids during the days and weeks leading up to shows but ESPECIALLY on the day of and even the day prior to a gig or performance. The bottom line is to remember that the better you feel, the better your voice will sound. You are only going to get out of your voice and body what you put into it!

BY PETER AND RYAN VOX

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ON THE DOWNLOW ACTIVE VS. PASSIVE

BASS

When electric basses were first invented, there was no such thing as ‘active and passive’ bass electronics; there was just ‘what was there.’ So bass players never had to weigh up which one to go with. If you wanted to manipulate your sound on a single-pickup Precision Bass, you had a tone control onboard your instrument (its job was to reduce the treble frequencies), and you had whatever tone-shaping your amp offered.

Now of course, it’s a very different story, and active circuits have been commonplace since the 70s. If you’re new to this stuff, we can think of ‘active’ as having some kind of powered circuit that provides further sonic sculpting to the tone before it leaves the instrument on its journey to the amplifier. A passive circuit doesn’t require extra electricity in order to do its job beyond what’s already coming in through the cable.

The bass world tends to differ from the guitar world in that you’ll find a lot more basses that have passive pickups but active tone shaping, whereas if someone has an active guitar it’s generally the pickup itself that is active. There are active bass pickups too, and you’ll find plenty of great models by the likes of EMG and Seymour Duncan. But in most cases you can add an active preamp to a bass that has passive pickups.

So what’s what, and what’s for you? Let’s have a look…

Passive Okay, so those very first basses had one pickup, a volume control and a simple low-pass filter tone control. Eventually twin pickup basses came along, and the early pioneers of these instruments did something pretty clever; they realised that basses would benefit from either individual volume pots or a ’blend’ control to vary the ratio between the two pickups, unlike guitar players who benefitted more from more straightforward toggle switches. The tone of a passive bass is usually earthy, organic, full and punchy, which is great for organic styles like blues, jazz, funk, rock and alternative.

Active Ah but active basses are great for styles like jazz and funk too, just in a different way. An active bass will generally offer more sound-sculpting in the form of separate tone controls for particular frequencies. One of the early successful active basses, the Music Man StingRay, used individual boost/cut controls for the treble and bass frequencies, and players soon realised that if they used these controls to boost each, they’d get a more wide-ranging tone for slap styles; the low notes thumped harder and the high notes jumped out more. Soon, basses with midrange controls arrived - often in the form of concentric pots giving you power over the midrange frequency as well as the amount of boost or cut.

This is especially handy for players in genres like jazz who might really need to stand out for a solo, because a lot of crucial ‘listen to me!’ frequencies live in the mids. Active basses are also great for metal players who need the high-end grind and low-end thump to get overdriven, fuzzedout or just plain distorted tones to work. Active basses are great for when you’re using a long cable because the signal is given an extra ‘kick’ that overrides the dreaded tone suck that occurs as capacitance builds up with each extra foot of cable length. And they’re usually noticeably quieter than passive basses, especially if you’re using fuzz, distortion or overdrive.

Active/Passive Some basses give you the option of selecting both types of circuit. One really cool example is Fender’s new signature model Jaguar bass

for Mastodon’s Troy Sanders. Ernie Ball Music Man also offers several basses with active/ passive switches, including certain Stingrays and the Reflex Bass. These are ideal for bass players who dabble in a wide range of styles, particularly studio musicians and those playing in professional cover bands. It’s also fun to use this kind of circuit almost as an effect or channelswitching; for instance you can set up your main sound in passive mode for the majority of the song, but if there’s a solo bass moment, a

BANGIN’ THE TUBS ODD TIME GROUPINGS

There are two types of drummers in this world – those that are awesome at playing odd time signatures and those that are not. Do you have what it takes? Okay, so I may be exaggerating on that somewhat, but for many years, I have definitely been the latter of the two drummers, and for a couple of reasons. Firstly, the gigs I do most regularly don’t require a great deal of playing in odd time signatures, but perhaps more than that, those types of time signatures scare the crap out of me. Or at least, they did. Let me explain.

TIMING’S EVERYTHING Any time signature that doesn’t have an even nature or pulse is more uncomfortable to feel.

However, if you think about it, we often find groupings of three rather comfortable – waltzes in 3/4 for example or 6/8 and 12/8. The reason for this is that, we can identify a steady pulse to latch on to when playing. Where things get more interesting is when you look at more complex types of time signatures. In reality, they can be anything you choose and with any subdivision as the base that you choose. For example, playing in 7/4 is possible but it’s usually more common to see this time signature as 7/8 where you feel seven 8th notes per bar. Like-wise, signatures in 5/4, 9/4, 5/8 or 9/8 are common in the odd-time world. Now, the purpose of this article isn’t to bark on about what time signatures are. No, my aim is to outline a well-known but so useful way to approach playing these types of groupings.

combinations : 4-4-4-3 / 3-4-4-4 / 4-3-4-4 / 4-4-3-4 etc.

What you can do from here is use sticking patterns or rudiments that are comfortable for you to fill the groupings. Here’s what I played using a 4-4-3-4 pattern and a single paradiddle as my base – RLRR LRLL RLR LRLL. Now, the key thing to take from this is that once I was playing a sticking pattern and not just trying to count, I felt more comfortable. How you decide to orchestrate the stickings on the drums is up to you.

The concept works for any odd time signature you can think of too (7/8 could be 4-3 or 3-2-2 etc) and you can also break up the groupings so you don’t have exactly the number of notes in the time signature all the time. You’ll want to try playing grooves eventually for example. Regardless, at least this way, you can get more familiar with these so called scary time signatures before going really hard. Try it.

GROUPINGS ‘Grouping’ is the key word here. I did a gig recently and was asked to play a pattern in 15/16.

At first, I freaked out but when analysed, I realised it wasn’t as difficult as I thought. In 4/4, or for the purpose of this example let’s say 16/16, there are four even groupings of four notes. If you take one away, you have 15/16. Now, if you keep the idea of the groupings, you still end up with exactly four, only that one is actually a grouping of three notes.

So effectively, you could have some different

BY ADRIAN VIOLI

PG. 36 / mixdowN NO. 245 / SEPTEMBER 2014

breakdown or a bigass bass drop you can dial the required tone in beforehand with your active circuit so it’s good to go at the flick of a switch the second you need it.

BY PETER HODGSON

DRUMS

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(D)IGITAL (J)OCKEY MONITORING AT HOME

DJ

I know, there is a big difference between playing a DJ set in a crowded club with a large PA system and working that set out at home earlier in the week. Every DJ will attest to the countless hours that are spent in the home studio working on mixes, learning how the tracks play with each other and generally getting some solid mixing time in by yourself. So it isn’t any wonder that those new to club or festival DJ work will often come undone when they soon realise that the room they have to play in on the night sounds nothing like what they are used to at home. Obviously, this time spent at home accounts as practice towards the real thing, but it is unrealistic to expect any DJ to have a club installation PA system set up at home for practice. Plus, I am sure the neighbours would have a thing or two to say about it as well. There are options though.

THE STUDIO MONITOR The first, and most logical step is to look into pair of studio monitors to work with in your home mixing environment. This will allow you a quality audio reproduction and a wonderful clarity that will allow you to hear everything that is going on within the tracks. I think it is always a good idea to listen through your music on a pair of studio monitors that you know the sound of. That way, you will get an idea of how a track sounds in relation to the others you might play with it. But remember, these are not speakers designed to bring the house down. What you are looking for in a studio monitor is clarity and frequency response, and not necessarily volume. You shouldn’t try to use these as PA speakers in your lounge room. This is not how they were designed to perform and this is not how you will get the most of them.

Volume aside, as these should really be used for near field monitoring, you really should consider frequency response and transient attack when choosing monitors for this task. I think the new Reveal range from Tannoy is one that offers a great speaker for the budget and with their larger 8”

model, you get plenty of bass response without a false bottom end. Being front ported too, this enables you to get the most of the full range in a close environment.

TURN IT UP THEN Of course, working with a pristine sounding studio monitor all the time isn’t ideal for getting in some practice before hitting the clubs. When you are using a pair of 1000 watt monitors in a venue just as booth speakers to hear what is going on in a room that is even louder, you get a very different perception of the music as it is being played. This means you need to hear your mixes on a PA speaker that works with a horn driver and at a pretty solid volume in order to understand how it is likely to sound within the club. This is not always ideal in a home studio environment, but I am sure you can come to some agreement with the neighbours. I find failing to answer knocks at the door works well.

In this regard, you don’t need to go overboard. You really only need something that will turn the small room you are operating in into a reverberating mess that is somewhat reminiscent of most DJ

booths around the world. A couple of power 12” boxes will more than suffice for this task. Set them up either side of yourself, almost pointing into one another at a close range and you will get a good idea of what you will be in store for. But please, be careful with the volumes and the amount of time you work under these conditions. Remember, you only have one set of ears and once they are destroyed, you will have no hope as a DJ ever again. So take regular breaks when working at home and be conscious of just how loud you are using the speakers. Ear damage happens over a certain period at a certain volume. So, the louder it gets, the less time you need to expose your ears to the sound before you result in permanent hearing loss. This is not fun.

Remember, the room you are working within at home is going to be a lot smaller than any club you will play in. Therefore you will not need as much volume to achieve the same effect. Other factors also come into play that should be considered.

You won’t have a room full of people at home to

HOME STUDIO HINTS

help absorb the sound, so you will get additional reflections and hence high volume reaching your ears. Also, you will be able to place yourself much closer to the speakers and get the full force of their amplification on a small room. Because of this, a speaker like the Yamaha MSR400 is going to pretty much be more than you will ever need. These are a great sounding speaker and will only need to be operated at about a third of their power to give you the full club effect in a small home studio. The best part about these speakers is that they have a big, heavy, reliable power amp in them and you will get unlimited use out of them without fear of a chip blowing inside the case and taking out the amplifier at the same time. You will soon get the idea of what it is like to play in a loud environment and understand just how the mixing process differs to when you use your studio monitors. Then, it is just a matter of finding the balance between the two methods.

BY ROB GEE

WHAT’S IN THE CARD

STUDIO

I often help people who are looking to expand their home recording setups and are in need of the right guidance to what equipment they may need. Like myself many years ago, most musicians who are new to home recording can easily get caught up in a lot of jargon they don’t understand and often end up with equipment they don’t need or that offers them a below average performance for the money they spend. I learnt the hard way and through years of reading every magazine I could subscribe to and by purchasing far too much gear, I got to understand what was and what wasn’t needed in a home studio environment.

Still to this day I am constantly getting rid of equipment I don’t use and probably should never have purchased to begin with, but some of us will never learn. So, what do you need to look out for when wanting to record into your computer?

LET’S GO DIGITAL Firstly, we don’t need to worry about recording media anymore; the computer’s hard drive takes care of that. This solves a lot of issues I dealt with when first recording as computers were simply used as a means of sequencing then, and it was almost unheard of to consider recording audio direct to a hard drive in a home studio environment. But these days it is a lot simpler. The hard drive is the perfect medium for the large data storage required for multi-track music recording. What we need to consider is the best way to get our music onto this medium.

So let’s forget about outboard gear, mixing consoles, microphones and speakers. This month, let’s just focus on the sound card, or audio interface as they are now know. This is the device that ultimately handles the audio getting onto our hard drive, so this is in many ways the real choking point of your recording system. Far too many recording enthusiasts seem to overlook the importance of this device and yet it is the main gateway your music is going to travel through. So, it makes sense to pay it some attention and ensure that you are not letting your recording down by opting out for a Band-Aid solution.

THE CARD IN THE BOX It used to be that we used a sound card, but these days very few interfaces are on cards anymore. You do get the on-board audio interface on just about every computer mother-board. Yes, this is a sound card and yes, it does allow for you to connect a microphone to your computer and record. But no,

it does not offer you the quality you really need in converting analogue signals into digital. Think about all the components on that mother-board and what they are doing. Then think about what the total cost for just the board alone is. Now, assign a relevant percentage to each of the components based on parts and tasks undergone and you will soon realise that you are relying on about four dollars worth of hardware to handle your audio conversion. So, what sort of quality is this really offering you?

Because there are so many manufacturers of computer components these days, you can never tell what is going to be inside any given box you might choose to work with. Even the high and mighty, totally untouchable Mac has Intel parts inside them now, so it is very difficult to ensure PCI audio cards will be compatible with all the components. The last thing you want is to spend a lot of money on a sound card only to have it conflict with a component on the mother-board, resulting in a full computer rebuild. Trust me, this happened to me twice in the 90’s, it isn’t fun. So, it makes sense that the ‘sound card’ be removed from the card format and be transplanted into an external device that can communicate with the computer via a USB, FireWire or Thunderbolt connection.

This removes the possibility of conflicts and allows for more inputs with better quality components to be used, given more space is now on offer than what a PCI card has to give.

CONVERSION COUNTS When all is said and done, remember this is

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really about analogue to digital conversion. You shouldn’t be buying your interface based on fancy tricks and flashing lights and in-built effects. You can get all that in the software. What you should be focusing on is the actual hardware that is turning your analogue signal into digital data and how competent that hardware is at doing the job right. Think about this, CD quality audio works with roughly 44,100 pieces of information every second.

Many recordings these days are done at sample rates of two or even four times that amount of data.

You could be working with up to 192,000 pieces of information per second. So, you want a device that will accurately translate all those elements and not result in errors. Better still, you want one that can actually keep up with this clock count and not drop samples. Of course, it is easy to get excited over big figures and fancy statistics, but there is no point in recording at 192 kHz if you card isn’t able to clock properly and drops samples every second.

So pay attention to the actual clocking used for the interface and consider what you are spending your hard earned money on. There is no point getting a budget interface that promises the world and clearly cannot deliver. You might as well just plug a mixer into the mother-board input and be done with audio quality right there. No, put simply you cannot achieve really high quality results in your mix further down the track if your audio has not entered the computer at the quality you need. So please, take heed of my advice and really think about what you are purchasing before rushing to get an audio interface. Seek advice, read the magazines and talk to fellow users who have had some experience with the unit you are considering.

Remember, your signal is only as strong as the weakest link, so don’t let your audio interface bring the whole home studio crashing down.

BY ROB GEE

INTRODUCTION Songs written. Check. Arrangements finalised. Check. Bassist is sober. Close enough….so what’s the next step? It’s time to hunt down the perfect gear to capture your sound, and get those tracks out to the mass of adoring fans (family and friends not included). This month we showcase all the latest and greatest gear as part of this years massive Studio Special!

If you’re looking to upgrade your existing

D I S T R I B U T I O N D E TA I L S

gear, or start up your own home recording setup, your good friends here at Mixdown have got you covered. We’ve given our team of expert writers free reign to test and assess a range of microphones, interfaces, headphones, monitors and anything else you could think of to help you decide what is needed to get your tracks sounding the best they can. Have a read through the products, hit up your local retailer and then go press record!

SAMSON CO1U PRO USB

RRP: $179

DISTRIBUTOR

AUSTRALASIAN MUSIC SUPPLIES ELECTRIC FACTORY JADE AUSTRALIA YAMAHA MUSIC AUSTRALIA DYNAMIC MUSIC SENNHEISER AUSTRALIA JANDS AUSTRALIA AUSTRALIAN MUSICAL IMPORTS NATIONAL AUDIO SYSTEMS PRO AUDIO GROUP AUSTRALIA AMBER TECHNOLOGY NETWORK AUDIO SOLUTIONS TECHNICAL AUDIO GROUP

PHONE

(03) 95491500 (03) 9474 1000 1800 144 120 (03) 9693 5111 (02) 9939 1299 (02) 9910 6700 (02) 9582 0909 (03) 8696 0600 (03) 8756 2600 (02) 9521 4844 1800 251 367 1300 306 670 (02) 9519 0900

PRODUCT TYPE: CONDENSER MICROPHONE DISTRIBUTOR: ELECTRIC FACTORY

RECOMMENDED FOR: Any musician who wants a better quality of recording at home without the fuss. Works well for podcasting and YouTube videos.

RECOMMENDED FOR: This is the ideal microphone for a home studio when working on a budget and a little more is needed from a vocal microphone.

Perfect for vocals in a range of studio applications, as well as acoustic guitars and pianos.

USABILITY: Becoming the audio interface for your computer when connected, you can record and monitor all from this microphone. It sets up with just about any computer with very little effort, and is perfect for location use as well being bus powered.

WWW.AUSTMUSIC.COM.AU WWW.ELFA.COM.AU WWW.JADEAUSTRALIA.COM.AU WWW.PAISTE.COM WWW.DYNAMICMUSIC.COM.AU WWW.SENNHEISER.COM.AU WWW.JANDS.COM.AU WWW.GIBSONAMI.COM WWW.NATIONALAUDIO.COM.AU WWW.PROAUDIOGROUP.COM.AU WWW.AMBERTECH.COM.AU WWW.NETWORKAUDIO.COM.AU WWW.TAG.COM.AU

RRP: $359

SAMSON MTR231

PRODUCT TYPE: USB CONDENSER MICROPHONE DISTRIBUTOR: ELECTRIC FACTORY

SOUND AND VERSATILITY: This is the latest generation of a Samson microphone that has been around for many years, and it now sounds better than the original. There is an extended frequency response for a range of applications.

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SOUND AND VERSATILITY: The large diaphragm capsule design means you get an extended frequency response from this microphone that really works well with a variety of vocal ranges.

USABILITY: Being that you can switch from cardioid to Omni and figure-of-8 patterns with this microphone, you can find a lot of uses for it in the studio.

CONSTRUCTION: A solid casing and no moving parts means this microphone is going to last the distance.

You would have to be pretty unkind to it in order to have any issues with the build quality.

CONSTRUCTION: The frame is pretty solid, as is the shock mount that is included. The capsule cage is a little wobbly on the base and the included pop filter does mount in a slightly clumsy fashion.

OVERALL: The original CO1U was a very handy microphone for the price. This is an improvement on that design, which delivers better quality sound for a better price.

OVERALL: This microphone is punching well above its weight category. Samson have delivered a microphone that is going to rival some wellknown units for sound quality on a home studio budget.

PG. 39 / MIXDOWN NO. 245 / SEPTEMBER 2014

M-AUDIO NOVA STUDIO CONDENSER

RRP: $179.99

NEUMANN TLM107 CONDENSER

PRODUCT TYPE: CONDENSER MICROPHONE DISTRIBUTOR: PRO AUDIO GROUP AUSTRALIA

PRODUCT TYPE: CONDENSER MICROPHONE DISTRIBUTOR: SENNHEISER AUSTRALIA

RECOMMENDED FOR: As a first look into a condenser microphone for your home studio, this is a really good option that will tick a number of the boxes and allow you to record a range of sources like guitars, percussion and vocals.

RECOMMENDED FOR: This is a bit of a do everything microphone.

From vocal and instrument recording in the studio, to live use for a range of applications and even choir and orchestra recordings, the TLM107 ticks all the boxes.

SOUND AND VERSATILITY: This is a fairly basic design, with a look that is somewhat like a number of other microphones I can think of. It delivers a somewhat neutral sound that isn’t offensive and delivers on its promises.

SOUND AND VERSATILITY: A very flat frequency response from this microphone means you can record just about every channel in a mix with it and not get an unwanted build-up of certain frequencies when it all comes together. This is a really transparent sounding microphone indeed.

USABILITY: It is fairly simple. With a fixed polar pattern and a hard mount stand adaptor, you just set this microphone up with the capsule facing the source and you are good to go. It even includes an XLR cable for connecting to your interface.

USABILITY: The modern design allows for a host of options in a somewhat unusual manner with a multi-function dial on the casing and LED backlit indicators showing filter settings, polar pattern and level. Not very traditional in design, but very functional.

CONSTRUCTION: These are not the toughest condenser microphones I have come across. They tend to be a little delicate on the finishing seals around the case, but they are not intended to be mistreated in any way.

CONSTRUCTION: Being a Neumann, and being made in Germany, this is of course an exceptionally well built unit. I cannot fault it. It feels so well made and you can hear the quality in the components when the results are delivered.

OVERALL: For the money, this microphone does deliver what it set out to do. It will work well for vocals and guitar, better than many dynamic microphones do. So, it could be a budget upgrade for recording at home that greatly improves your sound.

AUDIO TECHNICA AT2020WH

OVERALL: I have always had a soft spot for Neumann microphones; they generally offer everything you want in design, looks and tone. This microphone goes one step further and delivers flexibility as well.

RRP: $149

AUDIO TECHNICA AT2050

PRODUCT TYPE: CONDENSER MICROPHONE DISTRIBUTOR: TECHNICAL AUDIO GROUP

PRODUCT TYPE: CONDENSER MICROPHONE DISTRIBUTOR: TECHNICAL AUDIO GROUP

RECOMMENDED FOR: This is the perfect microphone for someone wanting to extend their recording capabilities in a home studio that is slowly being built.

For the home studio that is looking for a first condenser, or as an additional microphone to the kit, this is a great option.

RECOMMENDED FOR: The AT2050 is ideal for a main workhorse in a home studio and anyone that is looking for versatility in a condenser microphone. It works well for vocals, wind, percussion and guitars.

SOUND AND VERSATILITY: This microphone works well for vocals, both male and female voices. It offers a clear, concise sound that has a good high frequency roll-off. It may not have the detail of more expensive units, nor the depth in tone, but it does deliver good results.

USABILITY: As well as a vocal microphone, you will find this work well for guitar amp applications. It can handle high SPLs, so you can work fairly close to a speaker cabinet and get a bright, detailed sound.

SOUND AND VERSATILITY: I am no stranger to the sound of this microphone; it has that certain something to it. The AT2050 not only has the AT look, but it has the AT sound too. Clear, precise and not too heavy in the mid-frequencies.

USABILITY: This is a great setup with a very workable suspension shock mount that will look the part when left set up in the studio at home.

The ability to change the polar patterns further increases the applications in which this microphone works well in.

CONSTRUCTION: Built into a striking white case that looks great next to an iMac in the studio, you will discover that Audio Technica don’t make cheap microphones, even when the price suggests otherwise.

CONSTRUCTION: Not only is the microphone built well, but the cradle is too. Both components are designed to go the distance in the studio and I cannot see any reason why you would not get years and years of continual use from this microphone.

OVERALL: This is a great microphone for the project studio. It isn’t going to set you back too much and will give you a new sound to record with. Plus, they look pretty cool too, a little something different to the majority of the AT range.

OVERALL: These microphones have that classic Audio Technica look and you will want it to be out on display. That means, you will use it more and you will be pleasantly surprised with the results. It’s a great option for the price bracket.

PG. 40 / MIXDOWN NO. 245 / SEPTEMBER 2014

RRP: $1999

RRP: $449

BLUE KIWI CONDENSER MICROPHONE

RRP: $2899

SOUNDART SM-IC CONDENSER MICROPHONE

PRODUCT TYPE: CONDENSER MICROPHONE DISTRIBUTOR: AMBER TECHNOLOGY

PRODUCT TYPE: CONDENSER MICROPHONE DISTRIBUTOR: JADE AUSTRALIA

RECOMMENDED FOR: Studio engineers looking for a mic that will record vocal tracks with grace and dignity.

RECOMMENDED FOR: Recording cymbals, brass, pianos and a range of percussion instruments.

SOUND AND VERSATILITY: Delivers a quality reproduction of the sound it captures. You get to hear everything with the Kiwi and you hear it with clarity and detail. There is a really rich low frequency response that just comes to life from this capsule.

SOUND AND VERSATILITY: With a small capsule housed within the shell, you don’t get a lot of low frequency response from this microphone, but you do get plenty of sizzle in the top end.

USABILITY: The compact design allows for use in a range of applications when space is of an issue. It can easily fit in-between the chaos of a drum kit to get right up and close to your hi-hats without getting in the way.

USABILITY: With a variable polar pattern control, you get a wide variety of uses from the Kiwi, but it should stand tall as a vocal microphone within the studio.

CONSTRUCTION: The compact design sees this microphone housed in a sturdy little casing that doesn’t allow for anything to go wrong. It is pretty tough, although it doesn’t like taking a knock when plugged in.

CONSTRUCTION: Everything in this microphone is built the way I would want my microphone to be built. It isn’t put together in a moulded shell, but from quality components that are joined with precision to create a housing worthy of what is inside.

OVERALL: A compact condenser microphone worth having in abundance for a multitude of applications.

OVERALL: There is rarely anything that I can fault with any microphone from Blue, and the Kiwi is definitely no exception. From the deluxe velvet lined wooden presentation case, to the exquisitely engineered removable capsule, this microphone just oozes class.

SHURE PG27 SIDE ADDRESS CONDENSER MICROPHONE

RRP: $239

SOUNDART SM-USB-2 CONDENSER MICROPHONE

PRODUCT TYPE: CONDENSER MICROPHONE DISTRIBUTOR: JANDS AUSTRALIA

PRODUCT TYPE: USB CONDENSER MICROPHONE DISTRIBUTOR: JADE AUSTRALIA

RECOMMENDED FOR: This is a really good choice of condenser microphone when you want to use it in a number of guitar applications. It works well with both acoustic and electric guitars, and even creates great results for bass guitar cabinets too.

RECOMMENDED FOR: Podcasting and general vocal recording on a budget. For anyone wanting to get started in recording without having to set up a lot of equipment, this is ideal.

SOUND AND VERSATILITY: At the entry level range of microphones from Shure, this is one unit that actually stands tall and delivers a really high quality sound. It may not be voiced the best for vocals, but used with a guitar amp, even at high SPLs; this microphone really captures the liveliness of your instrument.

USABILITY: This microphone isn’t restricted to just one application though. It will work up against high SPLs with the -20dB pad switch engaged, but lift the pad and give it a run on an acoustic guitar and you will hear another side to this somewhat versatile tool.

CONSTRUCTION: A pretty rugged case that doesn’t have a great deal of moving parts makes for a great building block for longevity in the studio.

As a home recording device, you shouldn’t have to worry about how this microphone has been put together.

RRP: $34.95

RRP: $129

SOUND AND VERSATILITY: The design does not lend itself to versatility, but the sound is definitely of good quality.

USABILITY: The ease of setup with this device means anyone can be recording in a matter of minutes. Headphone monitoring is supplied direct from the microphone itself, so your entire audio interface is housed within the one device.

CONSTRUCTION: Although built into a fairly lightweight casing, it shouldn’t be an issue when used within a home studio environment. The supplied cradle is secure enough to hold the microphone stable and isolated when in use.

OVERALL: This is a neat little package that bundles a variety of studio tools into one single microphone housing that is quick to set up and easy to operate.

OVERALL: There are plenty of side address condenser microphones available on the market, especially in this price range. But, you have to hand it to Shure, they know how to make a microphone for every purpose and every price point. The PG27 is a prime example of meeting a need in home recording today.

PG. 41 / MIXDOWN NO. 245 / SEPTEMBER 2014

SONTRONICS STC-3X CONDENSER MICROPHONE PACK

RRP: $459

PRODUCT TYPE: CONDENSER MICROPHONE DISTRIBUTOR: NETWORK AUDIO SOLUTIONS

ART M-FOUR MULTI-PATERN TUBE MICROPHONE

RRP: $999

PRODUCT TYPE: CONDENSER MICROPHONE DISTRIBUTOR: NETWORK AUDIO SOLUTIONS RECOMMENDED FOR: This is a real ‘go to’ microphone for vocals in the home studio. ART always deliver with their tube designs and so, you can be sure that when you record yours, or anyone else’s vocal with this, you will get great results.

SOUND AND VERSATILITY: The rich tone you get form this 12AX7 driven microphone is really somewhat lush. I was expecting it to sound good, but even so; I still got a bit of a surprise when I actually heard the results.

RECOMMENDED FOR: This is a microphone designed for use with vocals, be it male or female voices. It works really well not only for singing, but in spoken word applications too, so it makes an ideal microphone for voice-over and podcast recordings.

SOUND AND VERSATILITY: The dual gold sputtered capsule found within this microphone has plenty to offer. With three different polar patterns, three levels of filtering and three stages of pad engagement, you do get a range of tone and colour from this microphone allowing it to find the sweet spot for just about any voice.

USABILITY: Now supplied in the kit is a suspension mount, cable and pop filter, all you need is a sturdy stand to support the entire outfit and you are ready to go. Selecting the different options is simple and quite noticeable when each variation is engaged, so you can easily test to see which works best in any given scenario.

CONSTRUCTION: All the components of this bundle are well designed and deliver a top quality product that will dominate a home studio and hold its own in any commercial facility.

USABILITY: What makes this such a versatile microphone is the way in which it allows you to switch from Omni to Figure-of-8 and then to Cardioid polar patterns. You get several steps in between each of these setting that slowly blend from one to another and so it allows you to explore the sound of your source and your room combined.

CONSTRUCTION: The casing of this microphone is pretty standard for a valve housing. The capsule sits well atop in a mesh cage that doesn’t really let anything through except your voice. All this is suspended on a cradle that as pretty sturdy and handles the weight of the microphone with ease.

OVERALL: I rather like it. I normally wouldn’t look towards ART when choosing a microphone, but this example has made me think twice about them. They don’t just do great preamps and compressors, ART can deliver across the entire signal chain.

OVERALL: Sontronics have given us a classic British design in this microphone and delivered a great broadcast tool that is quite musical as well. It really wouldn’t be a bad choice adding one of these to your home studio setup.

PRESONUS AUDIOBOX iTWO STUDIO BUNDLE

RRP: $399

PRESONUS MUSIC CREATION SUITE

RRP: $599

PRODUCT TYPE: STUDIO BUNDLE DISTRIBUTOR: NATIONAL AUDIO SYSTEMS

PRODUCT TYPE: STUDIO BUNDLE DISTRIBUTOR: PRO AUDIO GROUP AUSTRALIA

RECOMMENDED FOR: When today’s modern musician becomes the recording engineer as well, it is hard to keep them confined to a closed studio space. Therefore, this bundle is ideal in that it allows you to work with a laptop or an iPad and record anywhere, on the go.

RECOMMENDED FOR: When you have no idea where to get started in building your own home studio, this might just be the product for you. It is designed to give anyone looking for a start in music recording all the tools they need to get on their way.

SOUND AND VERSATILITY: The M7 condenser microphone is a great additional to this bundle as it affords you great audio capture to go with the Audiobox iTwo interface. With monitoring kept to the included headphones, you get a really tight reference of your sound.

SOUND AND VERSATILITY: With the Studio One audio engine behind this package, you know you can create professional quality tracks once you get your mind set on it. The M7 microphone allows for vocal and instrument recording that can be improved within the software.

USABILITY: The new Audiobox iTwo interface takes its design and idea from the original Audiobox with a few slight variations. Now that it is compatible with an iPad, you have more freedom to explore your creativity just about anywhere.

USABILITY: With a 49 note USB MIDI keyboard, you can now control all the sounds found within the instruments of Studio One Artist and get the most from them. But, if you are running low on connectivity, the included USB hub allows you to run your entire studio and more from a single USB port on your computer.

CONSTRUCTION: Like any Presonus interface, this unit is housed in a rugged steel case. The Audiobox is solid enough, so long as you are careful to protect the controls on the front panel. The headphones are a little more delicate though.

OVERALL: As an all-in-one bundle for mobile recording, I think Presonus have hit the ball out of the park with the Audiobox iTwo Studio. The name suggests you would use it at home, but the freedom it offers is endless.

PG. 42 / MIXDOWN NO. 245 / SEPTEMBER 2014

CONSTRUCTION: Being a starter pack for recording, the build quality is top notch, and understandably given the price. But, the Audiobox interface is still the same tough old unit and will most likely outlast everything else in this kit.

OVERALL: I think this is a really intuitive solution for Presonus to offer. It clears the headache of not knowing what to buy to get started and gives you a solid selection of equipment to begin your home studio with.

M-AUDIO VOCAL STUDIO PRO PACK

RRP: $429

PRESONUS ERIS E5 ACTIVE STUDIO MONITORS

RRP: $229 (EACH)

PRODUCT TYPE: INTERFACE DISTRIBUTOR: PRO AUDIO GROUP AUSTRALIA

PRODUCT TYPE: STUDIO MONITORS DISTRIBUTOR: NATIONAL AUDIO SYSTEMS

RECOMMENDED FOR: This is the ideal package for someone wanting to start out in home recording. It has an interface, microphone, headphones, software and cables so you are ready to go right out of the box.

RECOMMENDED FOR: As any compact home studio usually suffers from a lack of space, these monitor speakers are ideal given that they are not only compact, but have been designed specifically to work within confined spaces.

SOUND AND VERSATILITY: For anyone wanting to get away from plugging a microphone into the 3.5mm jack on the side of their computer, this is going to take your audio recording ahead in ability and sound quality.

USABILITY: After initial installation, all this gear works seamlessly together. The M-Track interface allows for another microphone to be added, or a guitar or similar instrument. The only harrier is your imagination.

CONSTRUCTION: Let’s face it; you are getting a lot of product for a great price in this bundle. So, while it works seamlessly together, the build quality isn’t the toughest and you will probably see yourself upgrading a little down the track.

OVERALL: This is a great place to start. You are getting professional software with Avid’s Pro Tools Express, so even when you do look to upgrade components, you can bring your existing projects along and help them grow. An upgrade to the full version of Pro Tools will also ensure this gets you further on your recording quest.

M-AUDIO BX6 CARBON STUDIO MONITORS

RRP: $599.99

SOUND AND VERSATILITY: The rear panel of these monitors allows you to set them up to operate in a number of listening positions. This means you can get the most from the speakers in the space you have with three different settings depending on monitor placement to go with a high-pass filter and two-band EQ adjustment.

USABILITY: With RCA, XLR and TRS connections all separately supplied, there are plenty of options on the rear panel for connection with whatever devices you are mixing from in your home studio.

CONSTRUCTION: The Eris monitors are all built just like these ones, just in different sizes. They are a really solid block that seems to be filled with a good deal of heat sink weight. The smooth front porting and gentle contours make for a pleasing design for the tough case.

OVERALL: Presonus are doing really great things with monitoring and amplification at the moment. Although these are essentially the babies in the range, they still have some good pointS and will find plenty of locations in which they will work well.

KRK RP8G3 ACTIVE STUDIO MONITORS

RRP: $1058 (PAIR)

PRODUCT TYPE: STUDIO MONITORS DISTRIBUTOR: PRO AUDIO GROUP AUSTRALIA

PRODUCT TYPE: STUDIO MONITORS DISTRIBUTOR: AUSTRALIAN MUSICAL IMPORTS

RECOMMENDED FOR: When you want a budget studio monitor that delivers a clear sound but also has plenty of power behind it for high volume listening, these monitors should be worth a look in.

RECOMMENDED FOR: These are an ideal studio monitor for use in slightly larger rooms where more volume is required and extra low frequency response is appreciated. Whether it is a home setup or professional studio, these monitors will stand up and deliver.

SOUND AND VERSATILITY: The 6” Kevlar low frequency driver in these speakers ensures you get plenty of low-frequency response from what are seemingly very compact units. These do sound more like a larger driver, but without having a false bottom end to them. They still sound relatively flat, considering the size.

USABILITY: As a near field monitor in a home studio, these are going to be very easy to integrate into most existing setups. As they are not a large footprint, they will slide into a small space and operate well at low levels when you have to work within a close range.

CONSTRUCTION: All six sides of these boxes seem to have held together for the duration of the test. The rugged coating on the shell will take a few bumps and scratches, but it will show up your coffee stains if you aren’t too careful.

OVERALL: These are a neat pair of studio monitors for home use. They offer some room control with a fixed three-position switch to counter the rear ported bass response depending on their placement.

Not bad for the asking price really.

SOUND AND VERSATILITY: With a very slight improvement from the previous model, the new Rokit 8 monitors have a little more upper mid-range response that helps them sound more natural. They still have the power bass response, partly driven by the front ported cabinet design that surprisingly doesn’t deliver any chuffing when driven hard.

USABILITY: For a home studio environment, these monitors sound amazing. But you do need to be aware that they do have a fairly large footprint and carry a bit of weight, so they might not suit all setups.

CONSTRUCTION: Short of pushing in the dome centre of the bass driver, or smashing off the volume attenuator through gross negligence, there is not a lot that can go wrong with these monitors.

OVERALL: I still do enjoy the sound of a pair of Rokit 8s driven hard in the studio. They do deliver so much punch, but still maintain clarity to their sound that comes from the superfast transient attack found in all KRK monitors.

PG. 43 / MIXDOWN NO. 245 / SEPTEMBER 2014

DYNAUDIO BM6 MKIII STUDIO MONITORS RRP: $1695 EACH, $3390 PAIR

FOSTEX PX-6 ACTIVE STUDIO MONITORS

PRODUCT TYPE: STUDIO MONITORS DISTRIBUTOR: AMBER TECHNOLOGY

PRODUCT TYPE: STUDIO MONITORS DISTRIBUTOR: NETWORK AUDIO SOLUTIONS

RRP: $699

RECOMMENDED FOR: Anyone looking for speakers that are quality in design, build and sound. For the professional studio, commercial editing suite or home studio setup, these are a set of monitors that will redefine how you listen to your work.

SOUND AND VERSATILITY: You really need to hear these things to know just how good they sound. That said, any faults that are present within your mix will be heard on these monitors too, so they are not for the faint hearted.

USABILITY: Supplied with IsoAcoustics L8R200 speaker stands, you are able to correctly decouple these speakers form vibrations through your desk and set them up to the correct angle to achieve the perfect listening position.

RECOMMENDED FOR: These will work great in any home studio. Even if you already have a reliable pair of monitor speakers, these can also serve as a second reference point to tighten your mixes.

CONSTRUCTION: Being that these speakers are not only designed, but also built, in Denmark, the quality of construction is exceptional. These are a pair of speakers worth cherishing and will last you well beyond your need for them.

SOUND AND VERSATILITY: The upgrade design in the PX range of monitors from Fostex delivers a clearer sound than was previously achieved. This model, with the 6” driver has a sufficient low frequency response to operate as a near-field monitor without the requirement of a sub as well.

USABILITY: Inputs are supplied on balanced XLR and TRS combination connectors as well as unbalanced RCA connectors. The endless rotary volume control and digital audio filter means you get consistent results without aging components from continual repetitive use.

OVERALL: There is very little to say about these speakers that isn’t a glowing compliment.

They look sharp and sound even better.

When it comes to discerning studio monitoring, if you really want to get the most form your ears, you should consider giving them the gift of some BM6 monitors.

CONSTRUCTION: The housing for these speakers is very nice indeed. The front ported cabinet is one sealed mould that only sees components connected with the addition of the rear panel which houses the controls and connections. This keeps reflections from the cabinet to a minimum and reduces vibration.

OVERALL: I really like what Fostex have done with these speakers. They are certainly an improvement on previous ideas and proof that they are striving to achieve new goals in studio monitoring solutions.

SAMSON RESOLV RXA5 STUDIO MONITORS

RRP: $718-859 (PAIR)

ALLEN & HEATH ZED60-14FX MIXER

RRP: $699

PRODUCT TYPE: STUDIO MONITORS DISTRIBUTOR: ELECTRIC FACTORY

PRODUCT TYPE: MIXER DISTRIBUTOR: TECHNICAL AUDIO GROUP

RECOMMENDED FOR: Home studio operators who are looking for a budget pair of monitor speakers that offers a little something extra. For mixing music, video editing or post-production work, these are a nice choice.

RECOMMENDED FOR: For anyone looking to expand their signal routing and input options in a home studio, this is a really solid option. As a complete recording solution, or as a part of a larger setup, this will find a place in many home studios.

SOUND AND VERSATILITY: The sound you get from these monitors is well above what you would expect. They deliver a really crisp high frequency range that has a fast transient attack. This means you hear a lot more in the mix with more accurate referencing.

SOUND AND VERSATILITY: As with all units in the ZED range from Allen & Heath, this model has a really quiet mix bus and still delivers on track count too. The in-built effects all sound pretty good and there will be a number of them you will use regularly.

USABILITY: The ribbon tweeter allows these monitors to operate at higher volume without audible distortion as would be the case with similar spec’d dome tweeter models.

USABILITY: As an analogue mixer in a signal chain this is really easy to work with. But, if you want to go direct into your computer, the added USB output makes it really simple. A stereo DAC allows you to send individual channel one at a time, or your full mix into your favourite recording software.

CONSTRUCTION: These monitors seem rugged enough. They are housed in a tough cabinet that should surely survive the rigours of sitting undisturbed upon your desk top. They are not PA speakers and so are not built like such, just right for a home studio environment.

OVERALL: The RXA range of monitor speakers from Samson definitely represents a step up in the world of home studio monitoring from these guys. These speakers may be a little more than any others on offer in their range, but they are the best sounding Samson studio monitors I have heard yet.

PG. 44 / MIXDOWN NO. 245 / SEPTEMBER 2014

CONSTRUCTION: As a studio tool, you will never have a problem with the build of the ZED40-14FX. In a live environment, it will get a few bumps and scratches, but it is built to take them and will continue to deliver the goods.

OVERALL: These are a stylish, compact mixer that offers plenty of inputs and a range of options that allow them to easily be integrated from the studio to the stage. They are a really nice option for anyone looking at a mixer when audio quality is more important than price.

SENNHEISER HD7DJ HEADPHONES

RRP: $429.95

PRODUCT TYPE: HEADPHONES DISTRIBUTOR: SENNHEISER AUSTRALIA

SOUND AND VERSATILITY: Although they deliver a beautifully clear response across the entire frequency range, the HD7 target the lower mid-range frequencies a little more aggressively so they stand out in a noisy DJ booth.

USABILITY: With this concentrated frequency response, what you get from the HD7s is a pair of headphones that help you hear kick and snare drums within a mix with more precision and without fatiguing your ears in order to do so.

CONSTRUCTION: Designed to be put through their paces in a club environment, these are a tough set of headphones that are not too heavy either. They are also very comfortable when worn with one or both ears.

OVERALL: I think it is nice to see a set of DJ headphones that doesn’t simply give you more bass. When mixing in a DJ booth, you really need a more defined sound that just lots of bass and so, the HD7DJ headphones delivers. It’s a very clever design that should make a lot of DJs very happy indeed.

PRODUCT TYPE: HEADPHONES DISTRIBUTOR: AUSTRALIAN MUSICAL IMPORTS

RRP: $249

PRODUCT TYPE: HEADPHONES DISTRIBUTOR: TECHNICAL AUDIO GROUP

RECOMMENDED FOR: Whether it is for use in the club, or in the home studio, these headphones are designed to give today’s DJs the audio response they require when beat matching. They are the perfect “in the mix” pair of headphones.

KRK KNS 8400/6400 STUDIO MONITOR HEADPHONES

AUDIO TECHNICA ATH-M50X HEADPHONES

RRP: $229

RECOMMENDED FOR: When you are looking for a set of headphones for both tracking in the studio as well as listening back to mixes to get a reference, these could be just what you are in need of.

SOUND AND VERSATILITY: The large over-ear design means you not only get an isolated delivery of the sound, but they can accommodate a driver that is capable of delivering the quality frequency response and detail that you get from these cans.

USABILITY: These are a very comfortable design that allows for extended periods of use without fatigue. The new design also means you can detach the cables and change from a straight to a curly cable should you wish. This makes them ideal for both studio and live use, as well as the ultimate pair of home listening headphones.

CONSTRUCTION: Just like the previous model, the new ATH-M50X headphones are built to last. You can be confident leaving them around in the studio knowing that whatever punishment they receive will be readily received. These headphones will go the distance.

OVERALL: Perhaps a little pricey for some people, but you have to consider what you get for the money you spend. These are a quality pair of headphones that not only sound great, but are built to last as well.

SHURE SRH840 STUDIO REFERENCE HEADPHONES

RRP: $429.95

PRODUCT TYPE: HEADPHONES DISTRIBUTOR: JANDS

RECOMMENDED FOR: These headphones have been purpose built for use in the studio for not only tracking, but also mixing. Essentially, they are designed to be like a pair of studio monitors that can be worn on your head.

SOUND AND VERSATILITY: The KNS6400 deliver a fairly flat frequency response that sounds uncannily like a pair of KRK studio monitors. Meanwhile the KNS8400 have a more detailed audio delivery than their cheaper partners. Both models have an extremely fast transient attack that delivers every moment of a note to your ears when intended.

USABILITY: These are not designed to be used as DJ headphones, so those of you looking for loudness should stop here. You get enough volume to operate these in a quiet studio environment and not much more You get a beautiful sense of air to the sound when working with these cans and don’t feel or sound all closed in like others can tend to do.

CONSTRUCTION: Although light in weight, they are still well assembled and very comfortable to wear.

You can go for extended listening sessions with these and not get tired of wearing them.

OVERALL: These are actually my favourite headphones in the KNS range. I have two pairs of these at home as it is, so I guess that is a pretty good endorsement for them.

RECOMMENDED FOR: These headphones are designed for studio recording and critical listening. So, when you are tracking in the studio and need to hear everything or when you are trying to pick faults within the mix and want clarity, these are the headphones for you.

SOUND AND VERSATILITY: Definition is what Shure delivers with these headphones. You get clarity of tone and a really defined representation of the entire frequency range. This makes them ideal as a reference point against your studio monitors to hear what you are missing in other listening environments.

USABILITY: The SRH840s are a very comfortable headphone. The headband is not only wide to fit naturally across the head, but suitably padded too, as are the ear pieces. These fit easily over the ears and allow for extended periods of listening with comfort and ease.

CONSTRUCTION: These are very noticeably a solid set of headphones. They have a bit of weight to them, but not so much as to be a strain when wearing them. But, when you pick them up, you can feel how tough they really are. Perfect for extended use in both the home and professional recording studio.

OVERALL: I first tried these headphones a number of years back and liked what I heard straight away. They stack up very nicely against the competitors and even give some of the higher priced Shure models a run for their money.

PG. 45 / MIXDOWN NO. 245 / SEPTEMBER 2014

SONAR X3 RECORDING SOFTWARE

RRP: $129-549

PRESONUS STUDIO ONE ARTIST SOFTWARE

RRP: $149

PRODUCT TYPE: SOFTWARE DISTRIBUTOR: AUSTRALIAN MUSICAL IMPORTS

PRODUCT TYPE: SOFTWARE DISTRIBUTOR: NATIONAL AUDIO SYSTEMS

RECOMMENDED FOR: Anyone who has been using Cakewalk products in the past really should look at stepping forward into their new platform and taking advantage of all it has in audio recording and music production tools. New users to the Cakewalk world will wonder why they took so long to discover it.

RECOMMENDED FOR: This software package is designed for those looking to break away from the DAWs they have known over the years. It is aimed at musicians as well as engineers, and delivers a fresh approach to music production.

SOUND AND VERSATILITY: The array of sounds on offer with X3 is massive. Beginning with unlimited audio and MIDI tracks, you know there must be plenty to work with to keep users happy. The effects sound great as do the instruments and the overall mix bus.

SOUND AND VERSATILITY: Not only does Studio One Artist cater for audio recording, but it also offers a wide range of music production tools as well. But, it is in the mix engine of this software platform that it performs so well, giving you a new sound in your mixes and quality effects to back it up.

USABILITY: What Sonar offers users is a more modern approach to music publishing within the DAW. Through the Skylight user interface, you are able to easily upload your work to YouTube or SoundCloud and get your music heard as soon as it is completed.

USABILITY: It can always be a bit daunting taking the first steps on the road to working with a new DAW, but Studio One Artist soon quells any fears. It is a really intuitive software package that works similar to many other recording platforms, but with many of the hassles removed and the ease of use increased considerably.

CONSTRUCTION: Built around a double 64-bit audio engine, you are going to need a computer that has plenty of grunt to be able to keep up with Sonar X3. It is a little hungry for power if you abuse it, but it delivers results and seemed pretty stable, even after a good punishing with plug-ins and high track counts.

OVERALL: I haven’t really used much from Cakewalk over the years, not by choice, but more due to circumstance. Now, after more than 20 years of computer recording, a software package like this makes me reconsider my options. They really have done a great job with Sonar X3.

SSL XLOGIC ALPHA CHANNEL

RRP: $1549

CONSTRUCTION: Built from scratch as a full audio creation platform, you are not just getting an add-on piece of software that needs to work with something else to get the job done.

OVERALL: If you are unsure of what DAW you want to end up working with, it could be that the others are confusing you all too much. Perhaps now is the time to take the fresh approach to your music and invest in Studio One now and into the future.

RADIAL GOLD DIGGER MICROPHONE SELECTOR

RRP: $589

PRODUCT TYPE: PRE AMP DISTRIBUTOR: AMBER TECHNOLOGY

PRODUCT TYPE: PRE AMP DISTRIBUTOR: AMBER TECHNOLOGY

RECOMMENDED FOR: Everyone who wants to record quality audio. Everyone. If you want to get the most of your microphone and your computer, this is the tool that needs to be sitting in between the two devices to create magic.

RECOMMENDED FOR: This is the perfect tool for any and every engineer to keep in their kit. It’s also very handy for musicians who sometimes run out of inputs on a desk or when you just want to send a few microphones into a powered speaker without a bulky mixer.

SOUND AND VERSATILITY: Based around the channel strip from an SSL console, this has that classic SSL EQ sound and preamp headroom to back up the sound of your favourite microphone.

SOUND AND VERSATILITY: As far as the sound goes, you pretty much get out of this just what you put into it. The Gold Digger doesn’t take anything from your signal, but allows it some extra headroom on the way through.

USABILITY: It operates just like a channel strip on a mixing console but with some modern SSL tweaks that take this single rack unit one step further. Perfect for use with digital audio recording as the compressor ensures you don’t get any digital clipping along the signal chain.

CONSTRUCTION: Like any SSL console, this rack unit is built to an unbelievable level of quality, but in a compact format. You can now have an SSL in your rack without the need to fill an entire room up with a console.

OVERALL: I have road tested this unit some time ago and my opinion remains unchanged. There is very little that I wouldn’t use this device for when recording at home. It is the perfect front end to a DAW when you are looking to get the most from your microphone.

PG. 46 / MIXDOWN NO. 245 / SEPTEMBER 2014

USABILITY: It is so simple to understand. As an ultra-compact mixer, you just run up to four microphones in and get a single XLR output. You can adjust the volumes of each input and apply phantom power to each one individually.

CONSTRUCTION: Being made by Radial, this is a really tough piece of kit. The controls are all recessed under the lip of the case so you can leave it set up on the floor of a stage and not worry if anyone kicks it or stands on it. The Gold Digger will take that sort of punishment.

OVERALL: Obviously, this is not everyone’s ideal device, but it will help extend channel counts on stage and in the studio when you need to get a few microphones on the go. A very simple yet clever design, this is a very handy tool to have.

MOTU 4PRE FIREWIRE/USB AUDIO INTERFACE

RRP: $649

RRP: $CALL LOCAL DEALER FOR PRICE

PRODUCT TYPE: INTERFACE DISTRIBUTOR: ELECTRIC FACTORY

PRODUCT TYPE: INTERFACE DISTRIBUTOR: NETWORK AUDIO SOLUTIONS

RECOMMENDED FOR: This represents an excellent solution for both home studio recording as well as use in a live environment as well. The bus powered Firewire 400 connection allows you to run the device solely from a laptop without the need for an additional power supply. So, it is easy on stage.

SOUND AND VERSATILITY: The four microphone preamps housed in this unit sound great. You get the same MOTU quality audio conversion that comes on their large models, but in a compact half-rack spaced frame.

USABILITY: With all controls on the front and connections on the back, aside from the headphone outputs, this unit settles into any rack with ease. The included rack mounting bracket makes it easy to set it up for a half-rack on a desktop, or combined with another MOTU unit to fill a rational rack space as one unit.

CONSTRUCTION: Like any MOTU interface, everything is housed with a really tough metal frame. You can stand on these things and all you will do is get them a little dirty. All the important stuff gets protected within the casing and can take a beating and still ask for more.

OVERALL: This is a neat little design from MOTU. It gives you much of what you find in their larger studio interfaces, but just crammed into a smaller package with four ins and four outs. What more could you need for creating on the go?

M-AUDIO M-TRACKQUAD RECORDING INTERFACE

FOCUSRITE ITRACK DOCK

RRP: $499

RECOMMENDED FOR: Anyone recording music that has a newer model iPad, this is going to redefine how you go about this process. From beginners to advanced recording engineers, this is a fun, compact unit to record with just about anywhere.

SOUND AND VERSATILITY: The iTrack Dock makes it very simple to get a high quality analogue to digital conversion into your iPad with a range of professional connections. You can now get the right input level for a microphone, line or instrument level signal on two channels.

USABILITY: This is really easy to operate and set up, if you are an iPad user. However, you will need a Lightning connection, so the older iPads won’t get you there with this device.

CONSTRUCTION: The unit has a lightweight chassis, but isn’t really an issue when sitting firmly on a desk atop of the four soft rubber feet. My only concern is for the iPad as it may get damaged going in and out of the dock.

OVERALL: I think this is one of the standout products that has come across my desk this year. It is a clever design that harnesses the power of your iPad and turns a very small portion of your desk space into a recording studio.

ZOOM TAC2 THUNDERBOLT AUDIO CONVERTER

RRP: $685

PRODUCT TYPE: INTERFACE DISTRIBUTOR: PRO AUDIO GROUP AUSTRALIA

PRODUCT TYPE: INTERFACE DISTRIBUTOR: DYNAMIC MUSIC

RECOMMENDED FOR: Recording more than just a pair of inputs at once without the need for a large console. The M-Track Quad gives you four microphone preamps into your computer at once in a solid, yet compact device.

RECOMMENDED FOR: At this stage, this is a compact interface that will be on the radar of many Mac users out there.

With Thunderbolt fast becoming the new connection for Mac computers, this is going to keep the geeks happy.

SOUND AND VERSATILITY: If you want versatility in a small USB interface, you will get it with this device. Not only are there four inputs on combination XLR/TRS connections, you also get four outputs and inserts on all four inputs.

SOUND AND VERSATILITY: With the speed and bandwidth of the Thunderbolt connection, you have the ability to operate on very high sample rates and bit depths both going in and out of the machine without noticeable latency issues.

USABILITY: With a MIDI in and out, it is easy to integrate this unit with other MIDI controllers and the addition of the three USB outputs allows you to work in into an already busy computer setup and double it as a USB hub.

USABILITY: A simple two in, two out setup with the option of headphone and guitar connections too makes it very easy to work with. The added volume know on the top of the box makes it a very user friendly DAC for general use as well.

CONSTRUCTION: This is built into a solid casing with nickel jack connections, not plastic ones. The knobs are all pretty firm, but feel solid as you turn them and the switches all have a great touch to them too.

CONSTRUCTION: It is housed in a solid little frame and all the connections are firm and well seated, even if board mounted. The volume controller has a smooth action, but maybe a little delicate.

OVERALL: Without being an over the top rack mounted unit with too many connections, this is a great idea for anyone wanting more than just the standard two in and two out configuration. Plus, you get Avid’s Pro Tools Express software included with the unit.

OVERALL: This is a very similar offering to other units on the market in design, but it does deliver a budget Thunderbolt option well ahead of most other manufacturers have done, with results that aren’t to be sneezed over either.

PG. 47 / MIXDOWN NO. 245 / SEPTEMBER 2014

ROAD TESTED ZOOM H5 HANDY RECORDER Well, it doesn’t happen every month, but occasionally I do get a product that really does have a lot to stand up for. For the past decade, the ‘go to’ unit for portable location recording was the H4N, but Zoom have finally seen fit to deliver us a replacement unit. Not an upgrade, as we saw many years ago, but a whole new device.

With the legacy of the H4N behind it, the new Zoom H5 Handy Recorder has to really deliver, and I think it does so in a number of ways.

THE NEW STANDARD Zoom boldly step out of the H4’s shadow with a range of features that will define this as the new standard in hand-held recording however they have maintained a similar format to the H4, with a pair of XY mounted condenser microphones on one end and a pair of XLR inputs on the other end to allow four tracks of simultaneous recording. The condenser microphones have had an overhaul and it is immediately noticeable.

The new capsule handles a far larger amount of volume, up to 140 db SPL and the new design has had a couple of upgrades to eliminate handling noise and movement with the new shockmounts. You almost don’t even need to consider the XLR inputs unless you want to record more than two microphones at once or use the H5 for a recording specific task such as recording vocals

or dialogue on set with a shotgun mic.

MIX IT UP Where the H5 really stands out from other portable recorders, including the H4, is the ability of changing the microphone capsule on the unit. Zoom have designed this to be easily removed and replaced with a range of capsules with differing pick-up patterns including a hypercardiod shotgun capsule, mid-side and an expanded connectivity capsule offering an extra two XLR inputs. These capsules really alter the ways in which you can go about using the H5 and give the unit almost unlimited versatility, whether its recording music for a demo, capturing a live rehearsal, recording an interview, field recording, mounting to a camera or any other number of uses, the H5 really is handy to have on hand.

The H5 has taken Zoom one step closer to creating a recording studio that fits in your pocket. This does not render the H4N useless by any means, but I can see a lot of existing uses wanting to move up to the H5 for some of the added advantages it offers. This unit is going to be a big win for Zoom, it is sure to keep existing users excited and gain a lot of new attention at the same time.

BY ROB GEE

RRP: $499

DISTRIBUTOR: Dynamic Music PHONE: (02) 9939 1299 WEBSITE: www.dynamicmusic.com.au SPECS

INPUTS: Interchangeable XY Stereo Capsule, 2 x Balanced TRS/XLR OUTPUT: Stereo Line Out, Headphone Out MAX A/D RESOLUTION: 24bit 96kHz WAV SD CARD: 2GB SD card included POWER: 2 x AA batteries (15hrs) or via USB power HITS

• Compact, portable recording • Built in condenser microphone pair • Combination XLR/TRS connectivity for additional sound sources MISSES

• Extra capsules sold separately • XY mounted microphones a not as well protected as with previous models

YAMAHA STAGE CUSTOM DRUM KIT Drum, 10x7” and 12x8” Rack Toms, 16x15” Floor Tom and a 14x5.5” Snare drum. Fusion spec adds a 20x17” bass and 14x13” floor tom.

Specialised tom or bass drum sizes are also available and all Stage Custom with Remo drum heads as standard.

The Yamaha Stage Custom was introduced in 1995 and since then, has been one of the best drum kits dollar for dollar you can buy. It offers the things you like about Yamaha in an affordable package. Most recently, Yamaha has done a little facelift on the Stage Custom and with some good results.

LOOK AT ME A great and obvious feature about the new Stage Custom is that it looks like a real Yamaha kit. In fact, it looks closer to an Absolute kit rather than an intermediate level one. This is a good thing. It’s inviting, with a striking finish and slick hardware/fittings. Some key differences, from the previous model, although subtle are substantial. There’s now a 6ply, thicker

100% Birch shell that stems from the same shell concept used on the Live Custom with rounder bearing edges for a fatter sound. Other features include bass drum legs with spurs and stoppers for easier set up, die-cast claws on the bass drum lugs with rubber insert, the new YESS system tom mounts with ball joint adjustment. The snare drum also now features 10 lugs instead of eight for better tuning, there’s upgraded Absolute style lugs that only have one screw through the shell and there’s five great finishes to choose from including Pure White, Raven Black, Cranberry Red, Honey Amber and Natural Wood. The kit I tried was Honey Amber and looked fantastic. The Stage custom is offered in two main rock or fusion configurations.

The Rock spec kit I tried included 22x17” Bass

CRISP AND CLEAR Initially the best way to describe the Stage custom is ‘crisp’. There’s a real clarity to the sound and fullness that only Birch can provide. The toms are extremely clear with a very focused and pronounced tone. I really liked the distinct lack of unwanted overtones. The bigger floor tom needed some extra care when tuning but also offered a focused sound. The Bass drum is full and punchy with a classic sound but could have been bigger. The snare drum preferred a medium to high tuning and yields a very likeable and decent crack and punch. There’s again, that focused tone and whilst there’s some ring, it’s not overpowering or unlikable. I tried all the drums with a little dampening and it only focused the tone even more giving me a very musical drum kit that actually made me play more creatively. This will obviously differ depending on how high or low you tune but I really liked what I was hearing. There’s also serious projection overall when you get into it. The toms really sing and the snare drum just cuts with a nice little pop under rim shots. Reskinning the kit from the factory Remo heads would yield even better results. Coupling all this goodness with some sensational Yamaha hardware makes for a

very compelling package indeed. Honestly, this is a cracking drum kit for the money.

BY ADRIAN VIOLI

DISTRIBUTOR: YAMAHA MUSIC AUSTRALIA PHONE: (03) 9693 5111 WEBSITE: www.yamahamusic.com.au SPECS

SNARE: 5.5” x 14” MOUNTED TOMS: 7” x 10”, 8” x 12” FLOOR TOMS: 15” x 16” BASS DRUMS: 17” x 22” SHELL MATERIALS: Birch HITS

• Quality construction, fit and finish and hardware • Controlled, focused sound overall • Great projection from 100% Birch shells MISSES

• Factory heads are harder to tune, especially on the floor tom • Snare drum doesn’t have a full fat sound down low • Bass drum needs a better head to get the best from it

YAMAHA ABSOLUTE HYBRID MAPLE SNARE DRUM

Intermediate to professional drummers, looking for good, all-round drums to cut a variety of different gigs often turn to Yamaha. In particular, the Absolute line has been one of Yamaha’s most successful – the maple custom particularly so. The Absolute Hybrid Maple line is one of the latest creations from Yamaha and we road tested the full drum kit last issue to great reviews. I got the opportunity to focus in on the Maple Hybrid snare drum.

LOOK/BUILD The 14x6” hybrid features one ply of a native African Hardwood called Wenge in the centre of the shell squeezed between six plies of Maple (three plies either side and 7 plies total), ten lugs and a 45 degrees R1.5 edge. It also looks fantastic with a slick throw off, hook lugs for easy head changing, 3mm Aluminium Die-Cast hoops, vent holes and a Vintage ‘natural’ finish on the inside of the shell. The Hybrid Maple is offered in ten gorgeous finishes depending on your preference. The Solid Black finish on this review snare looked amazing and gives a sense of quality and a classic look. Everything from the finish, awesome hardware and fittings look the business and the drum also comes with a Remo Coated Ambassador as standard.

SOUND The hybrid snare provides a nice balance of warmth, clear tone and punch. Its shell design certainly helps with this as the hardwood ply in the core of the shell provides power, projection and richness whereas the maple, as always, provides very clear tone and sustain. The featured hook lugs allow for higher tension tuning and

PG. 48 / mixdowN NO. 245 / SEPTEMBER 2014

the die cast hoops provide some real attack. I experimented with some tuning and the drum responds really well across the range with some real crack up high and a fat tone down low with dampening. Like a lot of snares though, it was most happy in the medium range with a good blend of tone and crack. It projects wonderfully too, easily up to the task of cutting through guitars and keys. The drum feels great to play.

The throw off is butter smooth and easy to use.

I really liked the choice of a die cast hoop for this snare too. Not only do they really look the biz, they feel great when doing rim shots or rim clicks and give just that little bit more attack and cut. It was a notably good feature and raises the fundamental pitch of the drum overall.

ABSOULTELY This is a great snare and deserves some attention. It’s sensitive and full of life. It would be a good addition to the collection or to be used as a go-to drum for any gig. There’s a noticeable quality that oozes from these Yamaha drums. It’s like the Maple Custom we’ve all come to love but with that little something extra. It is standard enough not to stand out too much but it’s also

special enough to keep you grooving. Nice one Yamaha.

BY ADRIAN VIOLI

DISTRIBUTOR: YAMAHA MUSIC AUSTRALIA PHONE: (03) 9693 5111 WEBSITE: www.yamahamusic.com.au HITS

• Die Cast Hoops provide a great feel and cut • Lugs and throw off really smooth • Nice punch from the hybrid shell making for a versatile snare MISSES

• Drum not super happy tuned down low

ROAD TESTED PAISTE RUDE CYMBALS

Like your cymbals dirty, angry and raw? Then Paiste has the answer for you. In fact, they’ve always had the answer as the Rude line has been around for years now. I recently got the chance to check out some special offering within the range.

Paiste Rude cymbals have been a go too for a classic Punk/Metal sound. They are made from the CuSn8 alloy, which is also known as the 2002 bronze alloy used across other lines. Their look is a smooth finish over a raw and ‘straight out of the oven’ raw appearance. There’s a very pronounced bell and some very radical and deep hammerings. They look loud and raw but the sound isn’t as clear cut as that.

18” / 20” BASHER CRASHES The new 18” and 20” Basher crashes are very interesting. This is a classic case of ‘don’t judge a book by its cover’. As mentioned, the look indicates these crashes are going to completely take your face off with little regard for sensitivity in the process. In reality, the cymbals are actually very musical. You can tell there’s bags of volume in reserve (and that does come) but they are light enough to open up at lower volumes. I found the 20” especially to be more a crash/ride.

This means you can go nuts for huge projection and cutting power or you can revel in the nice stick definition and trashy undertones. The bell is fairly separated too with a clear sound. The 18” has similar qualities but acts and feels more solely like a crash cymbal. There’s trashiness but also warmth. Rest assured though, if you need a powerful crash, there’s ample power there. Fortunately, the power and projection doesn’t come at the expense of musicality.

12” / 14” SHRED BELLS The 12” and 14” Shred Bells are true effect cymbals. As the name suggests, they act like bells but they don’t look exactly like your traditional bell. Instead they are offered like normal cymbals with a pronounced bell with an aggressive curve not unlike an upside down china cymbal. The alloys is extremely thick to avoid any real crash sustain or wash. The sound is very loud, piercing and raw. There’s a very distinct ‘ping’, particularly from the 14”, which can actually hurt your ears.

The 12” is the softer option. The decay almost sounds stereo and you can really modulate your sound depending on where and how you strike.

This is a real point of difference from a standard

bell effect cymbal. They’re not applicable to all situations but would be a very interesting choice if you need a cymbal like this.

14” BLAST CHINA Bright and not too heavy, the Blast China is a small explosion of energy. It’s a raw sound and again, as with the crashes, you can tell that there’s volume and power in reserve but you don’t automatically have to use it. I was able to really modulate the power as I played. Go for a subtle crash or a piercing accent – this china handled the lot. Obviously, the smaller size won’t take faces off like a 20” but the brighter sound and higher pitch makes it ideal for riding on and cutting through in the mix.

Overall, these Rude cymbals surprised me. Yes, they’re a good choice for heavier music but I really think there are some other applications for them too. Worth checking out.

DISTRIBUTOR: YAMAHA MUSIC AUSTRALIA PHONE: (03) 9693 5111 WEBSITE: www.paiste.com HITS

• Loads of volume and projection • Striking looks • More versatile than you might think for Punk/Metal cymbals MISSES

• Shred bells, whilst versatile in their own right may not suit every style and can be overpoweringly loud • 18” Basher crash probably not as versatile as the 20”

VOX NT15C1-CL COMBO GUITAR AMPLIFIER

Vox’s Night Train series is hugely popular and rather modern-looking, with an exterior that looks like something that liquid metal Terminator guy would play through if he was into little lunchbox amps and mini combos. It’s a very distinctive look but some players feel that Vox already has a distinctive look, and wouldn’t it be nice to have a Night Train that looks like a Vox? If this point of view describes you, read on, my friend, read on.

LIKE A DIAMOND IN THE SKY This new 15 watt combo amp from Vox rocks the already-legendary Night Train tonal wallop but the aesthetics are much more old-school. It features the trademark Vox diamond grille cloth and gold Vox badge, and it looks like something Brian May should be standing in front of a wall of. Internally this amp features an all-valve, class AB design. The preamp is driven by a trio of 12AX7 valves, while the power amp is built around two EL84 valves. There are two channels

- Bright and Girth - which give you all sorts of tones from clean to high gain, while an optional footswitch lets you change ‘em with ease. The Bright channel has a dedicated gain control and a ‘Thick’ switch that gives you a gain boost and a fatter tone. The Girth channel has separate gain and volume controls. Each channel shares a simple EQ section of bass, middle and treble.

Then there’s a master volume control and master reverb, along with a Dark switch which shifts the whole amp’s voice down a bit into smokier, warmer territory. TheNT15C1-CL is equipped with a Celestion Greenback speaker - the classic - and there’s an effects loop as well for throwing on your delays and whatnot.

mode is just so perfect that you’ll probably find yourself spending a lot of time there.

GET YOUR VOX ON The Bright channel is designed to encapsulate classic Vox clean and crunch sounds. The cleans are very clear and bell-like, bringing out the high end clarity of the vintage-correct Seymour Duncan Seth Lover humbuckers in my Les Paul.

Combined with the simple but effective reverb, this amp is capable of throwing out some very three-dimensional, elegant clean tones. Flip the Thick switch and you’re in instant Jimmy Page territory as the Night Train bypasses the tone stack and boosts the gain. This is where you’ll get that heavenly classic rock overdrive, the kind that never gets too harsh or fizzy. It sings sweetly when you play leads, and it has plenty of body and depth for rhythms. Crank the gain control all the way up and you’ve found probably the Night Train’s most stand-out sound.

The Girth channel is a little less distinctive than the Bright channel, and although it does indeed give you high gain tones, they seem more useful for saturated, almost fuzz-like solos rather than for metal rhythms or anything like that. The frequencies seem to naturally be voiced to sit on top of raging rhythm section so your licks and tricks can be clearly heard, but in all honesty this mode is probably best used as a great solo channel, with the Bright channel’s Thick mode taking care of your rhythms. There’s a bit more versatility and subtlety at lower gain settings of the Girth channel but again the Bright-Thick

BY PETER HODGSON

I CHOO-CHOO-CHOOSE YOU This is a great versatile amp, especially for those who like to play very dynamically rather than charge ahead on ten all the time. Despite its diminutive size it’s every bit as loud as you would hope. It’s especially great if you’re into blues, blues-rock or alternative styles that require a little grit and a lot of dimension, and importantly it sounds good at all volume levels; you won’t need to jeopardise your relationship with your family, spouse or neighbours to get great Vox crunch.

RRP: $999.99

DISTRIBUTOR: Yamaha Music Australia PHONE: (03) 9693 5111 WEBSITE: www.yamahamusic.com.au SPECS

OUTPUT POWER: 15 Watts RMS TUBE COMPLEMENT: Preamp: 12AX7 (x3) Power amp: EL84 (x2) SPEAKER: 12” Celestion G12M Greenback INPUTS/OUTPUTS: Guitar Input, FX Send, FX Return, Foot switch DIMENSIONS (WXDXH): 495 x 260 x 420mm WEIGHT: 17.5 kg HITS

• Great clean and crunch tones • Classic Vox look • Loud!

MISSES

• Girth channel isn’t as flexible as it could be • Effects loop is hard to reach

SEPTEMBER 2014 / MIXDOWN NO. 245 PG. 49

ROAD TESTED MARKBASS NEW YORK 151 BLACK Black sounded plenty punchy, and while 15” speakers are definitely more suited to low-end reproduction, there was plenty of fullness to the midrange too, which is especially important when using a more vintage-toned bass such as my Fernandes. Of course, when it’s time to get a bit more modern, the cab really shines because it has that nice solid low end from the 15” speaker along with lots of clear treble courtesy of the tweeter. For some players this cab alone is bound to be enough, but if you’re a player who needs a more up-front midrange you really should try combining it with the Standard 104HR. This offers you the best bet for maximising the entirety of your sonic range, especially if you use a lot of effects or are more of a ‘lead bass’ player in the Geddy Lee style.

The Markbass Black series is aimed at providing players with high-quality Markbass tone and performance at a more affordable price point to the really primo stuff. And they pretty much have to: the company seems to have grown so strongly and taken such a prominent place in bass players’ hearts over the past few years that they’ve become an aspirational brand, and folks just want to get their hands on Markbass gear.

BLACK LINE FEVER The New York 151HR Black Line is designed along similar specs to the company’s Italianmade Standard 151HR cabinet. Markbass characterises it as a ‘practical solution for those who like the sound of 15” speakers.’ This is a typically understated description, of course. The New York 151 Black has a single15” speaker and a 1” tweeter - a compression driver with custom horn - and it’s rear-ported for a nicely fine-tuned low end response. It’s designed to be used on its own when matched with an amp such as the Markbass Little Mark 250 Black Line head, or combined with the Standard 104HR Blackcabinet, which is loaded with four 10” speakers and a custom horn.

It’s an 8 ohm cab. The power handling is 300 watt RMS, and the frequency response gives you a nice range from 40Hz to 18kHz. Markbass does a great job of keeping their speaker boxes lightweight, and although the beefy New York 151 Black might be a bit of an uncomfortable lift, that’s more due to its boxy dimensions rather than its weight, which clocks in at about 25kg, which is plenty manageable for most players.

MARK MY WORDS I plugged my Fernandes Jazz Bass copy with DiMarzio Area J pickups into a Hartke head and fired up the New York 151 Black. Through some cabinets this particular Hartke can be a bit loose in the low end, but the New York 151

LINE UP! The Black Line is a really cool thing for Markbass to do: it’s nice that they’re acknowledging that there are players out there who want Markbass gear but can’t afford the high (but justified) price. This is a great all-purpose bass cab which is especially geared towards players who require really deep but really tight bass frequencies, and aside from the slight awkwardness of trying to lift a giant box. it’s quite gig-friendly too.

BY PETER HODGSON

RRP: $850

DISTRIBUTOR: CMC MUSIC AUSTRALIA PHONE: (02) 9905 2511 WEBSITE: www.cmcmusic.com.au SPECS

IMPEDANCE: 8 ohms SPEAKER SIZE: 1x15” POWER: 400W RMS FREQUENCY RESPONSE: 40 Hz -18 kHz SENSITIVITY: 100 dB SPL WEIGHT: 25 kg DIMENSIONS (HxWxD): 46.4 x 46.4 x 48cm HITS

• Clean sound • Loud • Not too heavy MISSES

• Level control feels a little flimsy.

STERLING BY MUSIC MAN JP70D

If you want to add a little of Dream Theater guitarist John Petrucci’s sonic mojo to your tone, a rather worthy goal, you could do a lot worse than to check out Petrucci’s line of signature guitars through Ernie Ball Music Man. They occupy a unique niche among shred-friendly guitars because their construction feels much more “serious-persons’ guitar” than the average shred plank. But Music Man guitars come with a price tag that reflects their quality.

They’re pretty dang pricey. So with the Sterling By Music Man line, the company has endeavoured to bring more affordable versions of some of their designs to players who might not have the financial wherewithal to walk home with the California-made stuff. The JP70D is based on Petrucci’s first Music Man model (there are a few other shapes now including the JPX and Majesty), and it’s made in Indonesia.

BEHIND THE VEIL Sterling has quite cleverly designed its Petrucci models to be their own instruments, rather than mirroring any one model too closely. What you get here is a basswood body with a maple neck, rosewood fretboard, 24 frets, a five-bolt neck joint, 25.5” scale length, and locking tuners. The truss rod adjustment is at the base of the freeboard, and the neck shape is quite flat but a little deeper than many shred-oriented axes. This makes it great for positioning your hand just right for the complex chord voicings, speedy alternate-picked licks and slithery legato.

friendly pickups with tight bass and slightly reignedin treble. The Crunch Lab has a warm, woody kind of vibe and an interesting frequency quirk where it almost sounds like you’re playing a downtuned guitar even on the higher strings. It sits really well in recordings and has great cut onstage, and it’ll hang in there even when you’re playing those really fast unison guitar/bass/keys lines that punctuate various Dream Theater songs. The LiquiFire sounds ‘noodly’ - it loves to blast out bluesy licks and superfast alternate-picked lines way up on the higher frets. And interestingly, the in-between setting with both pickups on in single coil mode sounds grittier, bluesier and more organic than Petrucci’s various earlier pickup sets.

ILLUMINATION THEORY This is an incredibly versatile, great-playing guitar that you don’t need to be a Dream Theater fan to appreciate. In some ways it’s a lot more traditional than it looks, and its tones really feel well-sculpted and musical. Even the tone knob - often a weak point on guitars like this - is carefully voiced and very usable.

BY PETER HODGSON RRP: $1850

DISTRIBUTOR: CMC Music Australia PHONE: (02) 9905 2511 WEBSITE: www.cmcmusic.com.au

The tremolo bridge is a two-point non-locking type which is back-routed so you can pull up as well as down while maintaining the correct knife-edge angle on the trem posts, rather than floating the bridge at an angle like you might do for a Strat bridge. There’s some untidy rout work and some painted-over wood chips inside the trem cavity but other than that the construction seems to be high quality especially in this price range. As for the electronics, this model is an upgrade from the JP70 model; the ‘D’ in this one’s model name denotes the use of DiMarzio pickups - in this case Petrucci’s signature Crunch Lab and LiquiFire sets. They’re wired to a three-way pickup selector switch which provides a split-coil voice in the middle setting.

HITS

CONSTANT MOTION The Crunch Lab and LiquiFire are very midrange-

• Slight finish flaws.

• Control placement won’t be for everyone.

• High-quality pickups.

• Comfortable neck.

• Great tuning stability.

SPECS

NECK WOOD: Maple FRETBOARD WOOD: Rosewood TUNING MACHINES: Locking PICKUPS: H/H, SBMM Design BRIDGE: Modern Tremolo MISSES

SEAGULL EXCURSION WALNUT SG the Seagull Excursion Series is envisioned as a way of getting affordable, quality crafted North American made acoustic guitars into the hands of players.

In my experience working at music stores, folks don’t tend to walk through the door expecting to walk out with a Seagull or Godin guitar (they’re made by the same company). They usually plan to buy something else, perhaps something with a huge list of famous endorsers with great hair. But then they pick up a Godin or Seagull and realise they’ve found their new guitar. Made in Canada,

HOW MUCH WOOD WOULD A WOODCHUCK CHUCK… There are six guitars in the line: Excursion Natural SG (a dreadnaught), Excursion Natural Folk SG (more of an auditorium-style body shape), Excursion Natural Grand SG (a little parlour-size guitar), Excursion Walnut SG (the dreadnaught on review here), Excursion Walnut Mini Jumbo SG (speaks for itself) and the Excursion Walnut 12 SG (a dreadnaught 12-string). Each instrument in the Natural line features a beautifully understated yet earthylooking wild cherry top, back and sides made of a three-layer lamination of real hardwood. The necks are Silver Leaf Maple, and Rosewood is used for the fingerboard and bridge. In the case of the three Walnut guitars, they feature a solid Spruce top and Walnut back and sides, again made of a three-layer lamination. The headstock face is also a thin layer of Walnut.

On the cosmetic side of things this guitar is quite stripped back; rather than an inlaid sound hole rosette or even a sticker, the rosette is burn-stamped with the words “Handcrafted in the village of Princeville Quebec Canada”.

The fretboard inlays are simple pearloid dots (although it would have looked fine without any dots at all, if you ask me), and there’s no binding

PG. 50 / MIXDOWN NO. 245 / SEPTEMBER 2014

anywhere to be seen. All of the Excursion models feature the Seagull Slim neck with a 1.72” nut width, designed to feel comfortable for players who are more accustomed to a more traditional nut width. Optional Fishman Isys+ electronics with built-in tuner and TRIC case are also available, but weren’t included with the review model.

UNLIMITED POWER This is a very bright, powerful-sounding guitar.

The sheer quality of the treble detail is matched by the punchiness of the low end and the clarity of the upper mids. It’s a really great strummer for those who dig in hard with the pick, but it also offers great note separation for fingerpickers.

The string height as it arrived out of the box was a little on the high side of medium, just enough to really grab each note by the proverbials but not so high as to preclude faster little flurries.

The neck shape helps in this regard too because it’s not too deep nor too rounded; it orients the hand in the perfect ergonomic posture rather than forcing you into some weird contortion to reach the outer strings.

PUNCHDRUNK LOVE This would be a great acoustic for bluegrass, country and rock players who need an acoustic that will slam out pure power and precision, but it’s also got enough detail for more restrained styles as well. If you need a sound that’s a little smoother and less punchy you might like to check out the

non-dreadnaught models in the line, but if you’re after a guitar that will keep up with your technique and your bandmates, this will do just fine.

BY PETER HODGSON RRP: $769

DISTRIBUTOR: Dynamic Music PHONE: (02) 9939 1299 WEBSITE: www.dynamicmusic.com.au SPECS

TOP WOOD: Solid Spruce BACK & SIDES WOOD: Walnut NECK WOOD: Silver Leaf Maple FINGERBOARD MATERIAL: Indian Rosewood BRIDGE MATERIAL: Rosewood NUT/SADDLE MATERIAL: Tusq NUT WIDTH: 1.72” HITS

• Very loud • Great tonal detail • Easy playability MISSES

• Tuners feel a little sticky • Burn-stamped faux binding would look cool

PG. 51 / mixdowN NO. 245 / september 2014

THAT REFRESHING CLASSIC SOUND

DSL SERIES The DSL (Dual Super Lead) Series is a critically acclaimed best-seller that delivers on tone, affordability and portability. ‘If you’re stepping up to your first all-valve Marshall, then these new DSLs won’t disappoint.’ – Guitarist Magazine See more at elfa.com.au

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DSL15C DSL100H DSL5C DSL15C DSL40C M412(A & B) MX212 MX112

15Watt Valve Head * 100 Watt Valve Head * 5W Valve Combo 15Watt Valve Combo * 40 Watt Valve Combo * 4 x 12 Speaker Cabinet 2 x 12 Speaker Cabinet 1 x 12 Speaker Cabinet

$749 $1299 $799 $899 $1099 $599 $449 $299

* switchable to half power output

PG. 52 / mixdowN NO. 245 / september 2014

Electric Factory Pty Ltd 188 Plenty Road Preston VIC 3072 03 9474 1000 sales@elfa.com.au