Mixdown Magazine - December 2014 - #248

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ISSUE 248

DECEMBER 2014

FREE MIXDOWNMAG.COM.AU THE CLEAN MAYHEM UNEARTH RATKING BENJAMIN BOOKER ANGEL OLSEN KING GIZZARD AND THE LIZARD WIZARD

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CONTENTS 6

GIVEAWAY

8

NEWS & TOURS

FORE WORD

12 THE INDUSTRIALIST

KING GIZZARD AND THE LIZARD WIZARD 28 SEEKAE RATKING 30 BENJAMIN BOOKER ANGEL OHLSEN 32 UNLEASH YOUR INNER ROCK GOD WHAT’S THAT SOUND KEYS 34 (D)IGITAL (J)OCKEY HOME STUDIO HINTS 36 ON THE DOWNLOW BANGIN THE TUBS 38 WHAT’S MY RANGE AGAIN? 40 CHRISTMAS WISH LIST SPECIAL 52 ROAD TESTED

Many thanks to everyone who has supported Mixdown Magazine over the past year and to those who have enjoyed the read and learnt something from our news, interviews, reviews and columns – we salute you too! We couldn’t be here without everyone’s contributions and active involvement.

Now for the all important X-mas Wish List (Pg. 40)... what does Mixdown Magazine want for Christmas? Well for starters, a new mixdownmag. com.au website with more user interactivity would be nice, alongside our very own online TV show... and maybe that jolly Santa fella can have a few of his elves knock-up a couple of flash new upgrades to the paper we’ve loved distributing around the country for the last 20 years! Well, one thing is for sure, the new year will bring some innovative upgrades and we can’t wait to deliver them to you, both online and as always, in the first week of every month! Stay tuned.

P.S. Merry Christmas and have a fantastic New Year celebration with your friends and family.

CHRISTMAS WISH LIST SPECIAL PAGE 40

MAYHEM

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It would be unjust to say that 2014 has been, simply “massive”. Filled to the brim with more music news than I can recall on topics ranging from both local and prominent live music venues and festivals closing their doors, to new ventures planting their seeds – the live music landscape (a musicians bread and butter) is in the midst of change. Similarly with the shift in streaming services and the advent of new online platforms, getting your music heard by the masses, like that of many bedroom producers we’ve seen this year, is now becoming the norm. It’s exciting for many and daunting for some, but what we’ve learned is that while you must always keep one ear to the ground, you must now also keep one eye looking forward. Sounds like a mean feat, but keeping up with advances in technology across the board of equipment - many of which we review each issue - is allowing us to create music we’ve never thought possible, and we’re happy to have taken you through the plethora of equipment and artist insights we are lucky to have had access to this year.

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SLASH MARILYN MANSON FALL OUT BOY JUDAS PRIEST GODSMACK ALL TIME LOW PAPA ROACH OF MICE & MEN ESCAPE THE FATE APOCALYPTICA LAGWAGON TONIGHT ALIVE CROSSFAITH BUTCHER BABIES CONFESSION THE SWELLERS CONDITIONS COLDRAIN KING 810 DAYSHELL THIS WILD LIFE DAY ONE • MELBOURNE & BRISBANE DAY TWO • ADELAIDE & SYDNEY

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LAST MONTH’S WINNER

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NICK CAVE PRIZE PACK GIVEAWAY

M-AUDIO OXYGEN MK4 GIVEAWAY WINNER

We had a heap of entries for the M-Audio Oxygen competition, but unfortunately, as is the case every month, we can only have one winner.

Congratulations to Theo Carbo of Northcote in Victoria.

You are taking home the M-Audio Oxygen MK4.

It’s one tidy little MIDI controller that’ll make a welcome addition to any home studio, or alternatively, act as a great starting point for beginners. We hope you have a great time playing with it Theo. Thanks to all of you that entered, and best of luck next time!

In celebration of the DVD release of Nick Cave’s 20,000 Days On Earth, we’re giving one lucky Mixdown reader the opportunity to win a Nick Cave prize pack! This collection of goodies includes a copy 20,000 Days On Earth on DVD, a copy of his latest record Push The Sky Away on vinyl, a copy of Nick Cave and the Bad Seeds Live From KCRW on CD and a 20,000 Days On Earth poster. All this has been made possible by our good friends at Madman Entertainment. It’s the perfect package for a Nick Cave fan, one of most prolific and pioneering artists in Australian music history. For your chance to win this amazing prize, all you have to do is follow these steps.

HOW TO ENTER: STEP 1. Like our Mixdown Facebook page (www.facebook.com/mixdownmagazine) and like/share our Nick Cave Giveaway post.

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

Which state in Australia is Nick Cave from?

Good Luck!

*This giveaway is for Australian residents only and one entry per person. All winners agree to have their name and photo published in the magazine and online with their prize.

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

STEREO SOUND. CUSTOM CONTROL. AT EVERY CORNER OF THE STAGE. PSM300 Stereo Personal Monitor Systems introduce the clarity and precision of 24-bit digital audio processing to personal monitoring, while bringing reliable wireless freedom and custom mix control to the stage. Easy to setup and use, PSM300 systems offer a choice of features that get any level user – whether new to in-ear monitoring or well experienced – up and running with a personal mix quickly and confidently.

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NEWS & TOURS THE COATHANGERS

FAT FREDDY’S DROP

All girl punk out­fit The Coathang­ers are Aus­tralia bound, head­ing down under for a string of head­ line shows through­out January.

The band’s aggres­sive and some­what abstract inter­pre­ta­tion of punk dis­tin­guishes them from oth­ers in their field, and has secured them key sup­port slots for garage lumi­nar­ies Black Lips and earned them a rep­u­ta­tion as one of the most impor­tant voices in the U.S garage scene.

This will be their first trip down to Aus­tralia, and with the local punk and garage scene thriv­ing,

New Zealand’s seven-headed soul monster, Fat Freddy’s Drop, return to Australia in January to preview their fourth album and new single ‘Slings and Arrows’. The single is the first to emerge from Freddy’s Bays studio jams in preparation for their biggest ever headline show. The sold out Alexandra Palace in London has a 10,000 strong capacity and comes off the back of last year’s Blackbird album achieving an Impala Gold Sales Award in Europe. The show is a highlight in Freddy’s Slings and Arrows World Tour that includes the band’s Japan and Thailand debut shows and a return to Sydney Opera House. Led by ‘one of the most soulful singers of his generation’ in Joe Dukie. The Drop’s live reputation hit new heights when they

there couldn’t be a bet­ter time for them to arrive.

TOUR DATES Jan­u­ary 15 — The Bar­won Club, Gee­long VIC Jan­u­ary 16 — The Tote Hotel, Mel­bourne VIC Jan­u­ary 17 — The Bris­bane Hotel, Hobart TAS Jan­u­ary 21 — Rad Bar, Wol­lon­gong NSW Jan­u­ary 22 — Frankies Pizza, Syd­ney NSW Jan­u­ary 23 — The Great North­ern Hotel, Byron Bay NSW Jan­u­ary 24 — Trainspot­ters, Bris­bane QLD Jan­u­ary 25 — Spot­ted Cow, Toowoomba QLD

FKA TWIGS

HEY GERONIMO

Not only will UK’s own FKA Twigs be down here for St Jerome’s Laneway Festival, she will also be playing two exclusive headline shows in Melbourne and Sydney. Her mesmerising show which she is bringing to Australia for the very first time - is a visceral treat. It’s almost impossible to characterise the British-born Young Turks-signed 26 year old’s remarkable album, LP1, a record of strange beauty and deeply confident lyrics.

Writing, producing, singing and choreographing

Brisbane’s Hey Geronimo have steadily developed into one of the country’s most innovative and quirky purveyors of indie music after releasing a string of radio singles over the last two years. After signing last month to seminal Australian publisher Alberts, the band has now announced the release of new single ‘Finale’ - the first track from their highly anticipated debut album, due in 2015. To accompany the release of ‘Finale’, Hey Geronimo will also embark on a tour in December. Recorded with acclaimed Australian producer Steve Schram (The Cat Empire, San Cisco, Eagle & The Worm), the new single is filled with trademark Hey Geronimo hooks, left-of-centre guitar riffs, and big harmonies. The track also features a cameo vocal performance from fellow Brisbanite, Jen

most of her output, the former professional dancer is a force to be reckoned with.

TOUR DATES January 28 - 170 Russell, Melbourne VIC February 4 - Metro Theatre, Sydney NSW

SBTRKT

Taking time from his busy Falls Festival schedule, SBTRKT has announced headline shows for January 2015. Far more than just a complete absence of vowels, in the last few years Aaron Jerome, the man behind the SBTRKT mask, has put a whole new spin on the post-dubstep landscape of indie electronica. SBTRKT returns to Australia off the back of his sophomore album, Wonder Where We Land. The album is based around a revolving crew of talent and features contributions from Ezra Koenig (Vampire Weekend), Caroline Polachek, Koreless and A$AP Ferg, as well as old hands Sampha and Jessie Ware and new voices Raury and Denai Moore. The music itself on Wonder Where We Land is a nod to classic albums of yesteryear from esteemed artists such as The Beatles, Pink Floyd and Radiohead, with SBTRKT seemingly

premiered the critically acclaimed Blackbird to two heaving Opera House audiences as part of GRAPHIC Festival 2012. In 2015, Fat Freddy’s will begin an all-new chapter on the very stage that saw Blackbird soar.

‘Slings And Arrows’ will be available on 7” as well

as digital, dropping in New Zealand and Australia this Friday 17th October. The new studio album is due for release in 2015 via Remote Control.

TOUR DATES January 21 - The Tivoli, Brisbane QLD January 23 - Palais Theatre, Melbourne VIC January 24 - Fremantle Arts Centre, Perth WA January 26 - Opera House, Sydney NSW

Boyce (Ball Park Music). 2013 was an actionpacked year for the four-piece, with festival performances at Big Day Out, Homebake, Fat As Butter and Peats Ridge, national tours alongside Deep Sea Arcade, Pluto Jonze and 90s indie legends Presidents of the USA – not to mention their ten-day tour of India in November as a featured Australian artist on the NH7 Weekender festival

TOUR DATES December 11 - Northcote Social Club, Melbourne VIC December 12 - Spectrum, Sydney NSW December 13 - Rad Bar, Wollongong NSW December 18 - Black Bear Lodge, Brisbane QLD December 19 - Beach Road Hotel, Byron Bay NSW December 20 - The Factory (Downstairs), Maroochydore QLD

nas

desperate not to become pigeonholed either by himself or the opinions of outsiders. Having first dipped his toes into Australian waters back in 2011 with a DJ tour, SBTRKT has become a regular visitor to our shores in recent times having already smashed prestigious slots at Laneway Festival, Falls Festival, Southbound, Field Day and a smattering of sold out headline shows. Joining SBTRKT for this limited run of shows is Sydney based trio, Movement.

PG. 8 / mixdowN NO. 248 / DECEMBER 2014

Wonder Where We Land is out now via Young Turks / Remote Control.

TOUR DATES January 7 - Forum Theatre, Melbourne VIC January 8 - Enmore Theatre, Sydney NSW

During his stay in Australia as apart of the mammoth Sugar Mountain festival, NAS has announced a run of headline shows, playing the classic Illmatic in its entirety. Arguably the most revered rap album in the genre’s history, Nas will be performing Illmatic from start to finish for the first time in Australia. To celebrate the album’s twentieth anniversary, Nas has taken his sold out Illmatic tour all over the globe during the past year to enormous critical acclaim. Off the back of his recently-announced headlining slot at Melbourne’s Sugar Mountain festival on January 24, where he’ll perform Illmatic in full, Nas will give fans in Brisbane, Sydney and Perth the same opportunity to experience the classic album live.

Each show will be a one-night-only affair. The album has been the subject of books, academic

studies and this year’s widely acclaimed Time is Illmatic documentary, which will be released in Australia in January to coincide with this historic tour. On top of his full Illmatic performance, Nas will also treat the crowd to a selection of hits from his celebrated catalogue. Each show is a guaranteed sell-out. Don’t sleep (‘cause sleep is the cousin of death).

TOUR DATES January 20 - The Tivoli, Brisbane QLD January 23 - Enmore Theatre, Sydney NSW January 24 - Sugar Mountain, Melbourne VIC January 25 - THE FORUM, Melbourne VIC January 27 - Metro City, Perth WA

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NEWS & TOURS JULIAN CASABLANCAS + THE VOIDZ

SUNBEAM SOUND MACHINE

Prolific songwriter Julian Casablancas has announced dates for his official Falls Festival and Southbound Festival sideshows with his new outfit Julian Casablancas + The Voidz.

Casablancas has been down under previously, fronting the infinitely popular band The Strokes, and has sold out venues in both Sydney and Melbourne with his standout solo show, but this will be the first time that Australians Audiences will have the opportunity to see him perform

Sunbeam Sound Machine, the brainchild of multi-instrumentalist Nick Sowersby, have premiered their debut album Wonderer ahead of its release this Friday November 21.

Though the lions share of the musical responsibility falls on the shoulders of Sowersby, who essentially sculpts the sounds on his own, in the live setting he is part of a five piece band that together form a rare psychedelic force.

Wonderer was written and recorded by Nick, but he has enlisted the talents of local psychedelic stalwart Stu McKenzie of King Gizzard and the Lizard Wizard to mix the record and the unparalleled talents of Andrei Eremin to master

with his band The Voidz. They’ll be stopping off at both Sydney and Melbourne while they’re down here. This is one your don’t want to miss out on.

TOUR DATES January 6 - Forum Theatre, Melbourne VIC January 7 - Enmore Theatre, Sydney NSW

TOUR DATES December 6 – HUGS & KISSES, Melbourne VIC December 12 – The Bandroom (FBi Social), Sydney NSW December 13 – Sydney Psych Fest at The Factory Theatre,

Sydney NSW January 9 – Black Bear Lodge, Brisbane QLD

SWANS

BERNARD FANNING

Bernard Fanning, one of Australia’s favourite sons of rock and roll, is heading out on tour once again. After an extended break abroad, Bernard will be back to delight audiences with new material, as well as contemporary classics from his acclaimed albums Tea & Sympathy and Departures.

Audiences will be fortunate enough this time to see Bernard in the glorious surroundings of Leeuwin Estate in Margaret River, The Taronga Zoo in Sydney as well as at the Melbourne Zoo in Melbourne and also at long time friend and

it. Catch Sunbeam Sound Machine as they tour up the east coast in support of Wonderer.

fellow Powderfinger member John Collins’ new venture, The Triffid. It promises to be one hell of a tour, celebrating one of the most prominent figures in Australian music over the last two decade.

TOUR DATES January 22 – The Triffid, Brisbane, QLD January 24 – Leeuwin Estate Windery, WA January 29 – Newtown Social Club, Sydney, NSW January 30 – Twilight At Taronga, Sydney, NSW January 31 – Melbourne Zoo Twilights, Melbourne, VIC

PG. 10 / mixdowN NO. 248 / DECEMBER 2014

Seminal experimental rock group Swans are returning to Australia in January to play headline shows in Melbourne and Sydney. Headed by the brooding Michael Gira, Swans have crafted a unique identity in the music world with their eerie and often brutal extended instrumental passages. Since their formation in the 1980s, Swans have released an astounding 12 studio albums, with album 13 To Be Kind (out now through Gira’s label Young God Records) continuing to push boundaries and draw in listeners with their ability to create sounds

which are equal parts beautiful and confronting.

Swans are one of the most unique projects in modern music, their live performance is truly an immersive experience.

TOUR DATES January 17 – MOFO Festival, Hobart TAS January 20 – Corner Hotel, Melbourne VIC January 22 – Manning Bar, Sydney NSW January 24 – Sugar Mountain Festival, Melbourne VIC

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THE INDUSTRIALIST MUSIC INDUSTRY NEWS WITH CHRISTIE ELIZER

For content submissions to this column please email to celizer@netspace.net.au LAUNCHING PAD #1: DIGITAL RADIO FOR UNSIGNED ACTS

Australian Radio Network’s iHeartRadio platform has partnered with the Unsigned Bands Australia association to launch a new digital station called Unsigned Bands to showcase new Australian music. It provides a platform for local acts to feature their music, videos, photos and news for free. The station is the latest initiative for Unsigned Bands Australia, which includes a weekly Unsigned Session at The Sly Fox in Sydney’s Enmore, and Battle of the Bands Australia Festival which offers a $10,000 grant and recording sessions.

LAUNCHING PAD #2: OPENLIVE

New Aussie start up OpenLIVE (www.openlive. com.au) has launched, providing high definition music, particularly live music, for direct download.

It was co-founded by musicians and music biz pros Andy McIntyre (Managing Director), Simon Tait and Gary Dunn, IT developer Richard Powell, and David Easton, Sabir Samtani and Matt Hill of digital marketing REBORN.

LAUNCHING PAD #3: TRANSMITTER RECORDS

Nicky Bomba and Joe Camilleri set up Transmitter Records for reggae, ska, calypso and world music acts in Australia. They partnered with ABC Music. First release is It Bomba project Bustamento album Intercontinental Journey.

LAUNCHING PAD #4: HEAVY MUSIC WANTED FOR NEW TV SHOW

Sports entertainment company New Age Wrestling is launching a monthly show on TV, with the pilot screening soon. It is looking for unsigned or indie heavy and rock bands to submit music for the show and other events, and potential for live performances and cross promotions. For more information, contact ds.e@live.com.au, or visit www.facebook.com/ dsenterprises.

AUSSIES GO FOR LIVE MUSIC OVER SPORTS

A few years ago, a survey by Music Victoria found that more Victorians see live gigs than sports.

New data from Roy Morgan Research found it is a national trend. One in 8 Australians aged 14+ (12%, or almost 2.4 million) go to at least one concert of any style within an average three months, compared with 11% to a professional sports event, Metrotechs (young, trendy, highearning urbanites) attend more gigs. But they support a wide variety of styles, with outer suburban young parents or multigenerational and multicultural family members each almost five times more likely to go see rock or pop gigs.

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ARTS LAW CENTRE OFFERS FREE LEGALS

Arts Law Centre is offering free telephone legal advice to artists and other creatives on topics such as copyright, contracts, liability, insurance, debt, social media, employment and tax. Call on 1800 221 457 or www.artslaw.com.au.

3 MILLION AUSSIES LISTEN TO DIGITAL RADIO

3 million Australians living in the five metropolitan capitals listen each week to digital radio according to figures from the Commercial Radio Australia association. Sales of DAB+ devices are over 1.7 million, rising to 1.9 million if you add the number of vehicles with digital radio. 20 car manufacturers now include digital radio in their cars, a total of 125,000 vehicles.

TWO NEW AIRPLAY CHARTS FOR AMRAP

The CBAA’s Australian Music Radio Airplay Project (Amrap) has launched two new charts.

The Amrap Metro Chart and Amrap Regional Chart each provide a weekly top 10 of the singles most ordered for airplay from Amrap’s AirIt distribution service. Over 2,500 broadcasters from 250 stations subscribe to Amrap’s AirIt. Over 1,500 tracks are ordered for airplay each week.

MUSICIANS LAUNCH FAIR TRADE CAMPAIGN

The NSW-based Australian Freelance Musician’s Alliance (AFMA) is launching a Fair Trade campaign to recognise businesses, venues, organisations, agents and musicians that treat musicians fairly, understand the value of live music, adhere to payment guides and offer a safe place to work. AFMA is a part of Media, Entertainment & Arts Alliance. A campaign launch is set for Monday December 8 at 6pm at

AC/DC look like touring Australia “late next year or before March in 2016” according to Sony Music. It’s not known whether drummer Phil Rudd will be with them, given his legal problems in New Zealand, and given that AC/ DC members said sessions for the new Rock Or Bust had problems because of issues related to his availability.

ROCK SONGS ADDED TO SOUND REGISTRY

The Divinyls’ ‘Boys in Town’, Cold Chisel’s ‘Khe Sanh’, The Go-Between’s ‘Cattle And Cane’ and Icehouse’s ‘Great Southern Land’ were among public nominated tracks added to the National Film and Sound Archives’ Sounds of Australia registry, alongside a dingo hollowing and music recorded in a cave.

Skrillex

QUEST TO FIND INDIGENOUS FEMALE TROUBADOURS

Alice Springs-based indigenous record label CAAMA Music is looking for the next crop of indigenous female singer songwriters. The Alukura Music Competition allows ten from around the country to be flown to the red centre for 10 days in April for master classes and recording under Nardi Simpson and Kaleena Briggs of The Stiff Gins. Upload at least two original songs to your triple j Unearthed profile

by December 11. See caamamusic.com.au.

TANGERINE DREAM CONTRIBUTE TO ROAD CREW ASSOCIATION

Tangerine Dream’s Edgar Froese signed a cello used by the band, to be sold or auctioned to raise funds for the Australian Road Crew Association (ARCA). “It was an emotional moment for us,” said ARCA founder Ian Peel, who was lighting director for the German band’s second tour n 1982. Board member Adrian Anderson managed their first Australian visit in 1975. ARCA was set up to support road crews with health and money issues. “There’d be no music industry without road crews,” Peel says.

Hiatus Kaiyote

SKRILLEX PRAISES AUSSIE EDM

Stereosonic-bound US dubstep producer Skrillex says Aussies should not underestimate the global influence of their EDM sound.

“Australia doesn’t get enough credit for being so ahead of the curve in knowing music and having so much great music coming out,” he told AAP. “There’s a sound that comes out of Australia that influences the world.”

Four more Australian acts were added to showcase at South by Southwest in Austin in March. They are Sydney trio Mansionair whose ‘Hold Me Down’ single receiving on national airplay, Grammy-nominated Melbourne band Hiatus Kaiyote, Sydney triple j faves Gang of Youths and Sydney/ New York singer songwriter and visual artist Lenka. They join The Church (who’re also doing a Q&A session), Angus & Julia Stone, Ball Park Music, Courtney Barnett, Bloods, The Gooch Palms, Demi Louise, Luluc and Twerps.

• The Laneway Festival will stay at its Sydney home at Callan Park for another three years. It used to be an insane asylum, but now it’s used by the Sydney College Of The Arts.

• Lewis Walsh, award-winning drummer from Perth’s The Love Junkies, has come out as transgender, in a piece written for Tone Deaf.

The 24-year old came out last year to the band and split from his long time girlfriend.

PG. 12 / mixdowN NO. 248 / DECEMBER 2014

Buried In Verona songwriter and guitarist Richie Newman, and ARIA-nominated producer Greg Stace have set up a production team focused on metal, hardcore and hard rock. Based in Oxygen Music’s studios in Alexandria, their first project is the next Verona album, but they are looking for new acts. For more information, contact: sonia@oxygenmusicgroup.com or chris@maricmedia.com.au.

LONGER HOURS FOR WA NIGHTCLUBS

Nightclubs will be able to remain open until 2am on Sunday nights when Western Australia’s liquor laws are changed next year. The Government released its response to its commissioned review of the Liquor Control Act, which you can read at www.rgl.wa.gov.au. Among other changes are a new class of license for small bars, a new maximum fine of $5,000 for those who refuse to leave venues, bouncers to complete the nationally accredited Responsible Service of Alcohol, and hotels, taverns and bars extending trading by two hours to midnight on Sundays.

While the entertainment industry and Federal Government talk of a regulatory path to cut down illegal downloading, a survey by telecommunications body the Communications Alliance, undertaken by JWS Research, claims Aussie consumers don’t agree it’s the way to go. In the survey of 1500, about 55% agreed illegal downloading is a problem and unfairly hits content creators, but 79% also believe it will continue as long as prices are too high. Less than 20% are confident regulation will work, three quarters believe pirates will find ways around regulations and up to 60% think that if ISPs are compelled to police infringements, rights holders should pay them for it.

• Melbourne-based hip hop label Obese Records is moving its retail operations online, and closing down its store in Frankston.

• Is former triple j breakfast host Tom Ballard joining 2DAY FM in 2015?

• R&B singer Stan Walker was doing the haka for US acts at SoulFest in New Zealand when, whoops, his pants split to show he wasn’t wearing undies.

• The Adelaide Film Festival auctioned a jar of Sia’s breath during a movie quiz. In the meantime, Sia was the one music act in BRW Australia’s Young Rich Australians under 40 list. She was at #96 with a fortune of $20 million.

• In its third year, the Sydney International Women’s Jazz Festival sold out all its shows.

• Brisbane’s 4ZZZ has launched voting for its 35th HOT 100 for tracks played by the station between November 2013 and November 2014. The countdown will be broadcast from midday Jan 1 on radio, online and mobile devices.

• South Australian-hailed acts Bad//Dreems, Allday, Tkay Maidza, Timberwolf and Truth Corroded were among winners at the Fowler’s Live Music Awards in Adelaide.

POISON THORN RECORDS LOOKING FOR ACTS

Poison Thorn Records, the alt-rock, metal and rock imprint set up this year by Possum Records, is looking for acts. The label, which is distributed through Universal Music, has hired label manager Amber Ferguson to sign new acts. Send your music via a Soundcloud link to info@poisonthornrecords.com or send CDs and bio to PO Box1524, Bowral NSW 2576. Poison Thorn is releasing an alt-rock compilation of 11 rising acts, with a metal one next year.

RICHIE NEWMAN, GREG STACE, SET UP PRODUCTION TEAM

THINGS WE HEAR

• Hilltop Hoods met an ardent fan in Mt Gambier who asked them to sign every piece of Hoods memorabilia he possessed. They asked if he was missing any items. He told them there was a rare 12” single from some years ago. Only 20 copies of it exist in the world but they got him one.

FOUR MORE AUSSIES HEADING TO SXSW

A Music Sector Issues Forum convened in Canberra by MusicACT called for a shake-up of liquor licensing laws and arts policies for live music venues to thrive, for ACT authorities to work with the Live Music Office (whose John Wardle was a speaker) on regulatory changes.

The Canberra Musicians Club and MusicACT are keen to progress the idea of a Regional Touring Network to expand the music economy in Canberra and the surrounding region.

STUDY: WANT TO CURB ILLEGAL DOWNLOADING?

• Movie/TV streaming service Netflix will launch in Australia in March.

MUSIC SHOW COMING TO TV

Look out for a new music show Spilt Milk on a major TV channel. Hosted by radio’s Michael O’Neill, it teamed with booking agencies Premier Artists and Harbour to provide two acts per episode. Locked in are team ups by Missy Higgins & Pete Murray, The Veronicas & Katy Perry and Marcia Hines & 360. These collabs will be played on Southern Cross Austereo stations and sold on iTunes. A pilot shot at Brisbane’s Family Nightclub, is on YouTube.

AC/DC TOUR FOR SUMMER 2015?

CANBERRA FORUM CALLS FOR LICENSING SHAKE-UP

• Angus Young reveals that brother Malcolm began suffering dementia some years ago and was on treatment for lapses of memory and concentration during their Black Ice album sessions six years ago.

PG. 13 / mixdowN NO. 247 / NOVEMBER 2014

PRODUCT NEWS MOOER MEP-VEM BOX EFFECTS PEDAL

The Mooer MEP-VEM Vem Box is a whole lot of effects in one neat little package. It contains eight different effect modules, with 54 effects in total, and you can use up to seven effects simultaneously. Each effect has adjustable parameters so the tone and intensity of the effect can be manipulated. The unit comes with 40 pre programmed factory patches which can be modified. It also contains 40 user patches so you can create the sound that’s perfect for you.

Perhaps the most notable feature of the vem

ALTO PROFESSIONAL TX SERIES MONITOR

box though, is the vocoder effect, allowing you to get a real talk box sounding effect. This is one versatile little unit.

FOR MORE INFORMATION ABOUT THE MOOER RANGE OF PRODUCTS, CONTACT JADE AUSTRALIA AT WWW.MUSOCITY.COM.AU OR ON 1800 144 120.

ALTO PROFESSIONAL LIVE 802 MIXER

The TX Series is built to travel. It’s both lightweight and portable and the Trapezoid cabinet makes either upright or wedge monitor placement a breeze, with a pole mount socket and a comfortable handle for even more versatility. Create a custom setup using the Link output to chain multiple cabinets together. For the musician, DJ, or live-sound provider craving professional audio reproduction, The TX Series delivers impressive, dynamic sound night after night. Alto Professional has taken the innovative

technology used in their top-selling Truesonic loudspeaker and applied it to the TX series, with quality components and a dynamic crisp sound at a more affordable price.

FOR MORE INFORMATION ABOUT THE ALTO PROFESSIONAL LIVE SERIES CONTACT PRO AUDIO GROUP AUSTRALIA AT WWW.PROAUDIOGROUP.COM.AU OR ON (02) 9521 4844.

SNARK INSTRUMENT TUNERS The new Alto Professional Live 802 is a pro 8-channel, 2-bus mixer that contains all the capabilities you require to create the perfect mix. It’s perfectly capable of holding true in any live performance environment with a range of flexible routing options and onboard DSP tools.

It features balanced XLR inputs with switchable phantom power, 3-band EQ for further tonal shaping, two aux send per channel for external effects and monitoring and a 9 band graphic EQ for main or monitor outputs. 60mm faders with

LED meters provide precise control and visual feedback for accurate, hands-on mixing. With its diverse connectivity options, the new Alto proffessional Live 802 is ready for any event.

FOR MORE INFORMATION ABOUT THE ALTO PROFESSIONAL LIVE SERIES CONTACT PRO AUDIO GROUP AUSTRALIA AT WWW.PROAUDIOGROUP.COM.AU OR ON (02) 9521 4844.

BRYDEN ACOUSTIC GUITARS Bryden Acoustic Guitars are the perfect guitar for the aspiring player looking to begin their musical journey. Designed by professionals with decades of experience in the instrument manufacturing trade, Bryden Guitars are well built and good looking guitars that play well. All Bryden guitars feature Spruce tops, Basswood back and sides and Rosewood fingerboards with diecast machine heads standard issue on all models. Every guitar undergoes strict, hands-on quality control checks in Australia to ensure the best possible experience for budding musicians and with full-colour boxes make an ideal gift choice.

FOR MORE INFORMATION ABOUT THE BRYDEN GUITAR RANGE, AND TO LOCATE YOUR NEAREST DEALER, VISIT WWW.INSIDEMUSIC.COM.AU

PG. 14 / MIXDOWN NO. 248 / DECEMBER 2014

WSN10S

WSN2

With distinctive looks, ease of use and exceptional accuracy, it’s easy to see why Snark remains one of the world’s most popular instrument tuners.

With an ever-expanding range, there is now a Snark tuner to suit everyone. With its soft touch red finish and built-in microphone, the WSN2 is the perfect all-rounder for general purpose tuning. Pitch shift from A415Hz-466Hz and transpose functionality make it equally at home tuning an electric guitar as a violin or woodwind instrument. For Super-Tight accuracy it’s hard to beat the WSN8. With a full colour LCD needle display this clip-on chromatic headstock tuner is the choice for many of Australia’s top guitar stores.

When blazing-fast accuracy and a huge LCD display are required the WSN10S pedal tuner takes centre stage. A rugged diecast metal housing, heavy duty switch and true bypass make the WSN10S a pro quality stage and studio tuner.

WSN8

FOR MORE INFORMATION ABOUT SNARK INSTRUMENT TUNERS AND TO LOCATE YOUR NEAREST DEALER, VISIT WWW.INSIDEMUSIC.COM.AU

WEAPONS OF MASS PRODUCTION

CONTROLLERS

STUDIO MONITORS

AUDIO INTERFACES

MICROPHONES

ACCESSORIES

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PG. 15 / MIXDOWN NO. 248 / DECEMBER 2014

PRODUCT NEWS YAMAHA GIGMAKER DRUMKIT

The Yamaha GigMaker is the complete drum-set.

Although geared toward first-time players, the kits feature Yamaha hardware with hex tom ball joints for precise positioning along with five new eye-catching glitter wrap finishes. Gigmaker drum sets are available in two basic configurations and a range of colourful sparkle finishes that you can choose to match your musical and visual style.

With professional features at an affordable price, GigMaker is the go-to drum set for beginner and intermediate players alike who need an entrylevel set but don’t want to skimp on quality, tone and playability. In addition to the matching wood snare drum and Yamaha’s double-braced

hardware, the GigMaker drum sets include matching wood bass drum hoops for superior tone and durability, and come in 20” and 22” configurations. The new kits, constructed with basswood and poplar shells, are available as shell packs, complete configurations with hardware, or packaged complete with Paiste 101 cymbals.

FOR MORE INFORMATION ON THE GIGMAKER RANGE OF PRODUCTS, CONTACT YAMAHA MUSIC AUSTRALIA AT AU.YAMAHA.COM, OR PHONE (03) 9693 5111.

Premier means number one! number one for Drum kits and Hardware. number one for Deals.

Special offer Get your absolute best deal on Premier Percussion equipment from your favourite dealer and no matter what you pay Premier Drums Australia will give you another 5% to spend on those extras – sticks, hardware etc! beanie from rudimental

Participating Dealers nSW

VIC

Anthonys music, Liverpool (02) 9602 4243 broken Hill music, broken Hill (08) 8088 4840 buckleys music, Grafton (02) 6642 4710 Dural music, Dural (02) 9651 7333 river music, Windsor (02) 4577 3355 rockstar music, Queanbeyan (02) 6299 7001 Smithy’s PA Stage and Lighting, Camperdown (02) 9550 1177 South Coast music, nowra (02) 4421 8688 Sydney Drums, Croydon (02) 9744 2002

Davis music Centre, Footscray (03) 9689 2608 marban music, bairnsdale (03) 5153 1234 muso’s Stuff, bendigo (03) 5441 2340

QLD

DTX 522K ELECTRONIC DRUM KIT

The DTX522K features the new DTX-PAD snare with newly developed tom pads, exclusive 3-zone hi-hat and cymbal pads, plus the incredible sounds and features of the DTX502 module in an affordable kit configuration.

Utilising the DTX-PAD snare for superior stick feel, you can play the head, open rimshot, and closed rimshot voices in each of the three zones for authentic snare expression. This model also features 3-zone operation for the ride, crash and hi-hat. The drums and percussion voices in the new DTX502 module lets you sound your absolute best, and with the advanced practice tools and easy song recorder you will be getting better all the time. The DTX502 has almost twice the wave ROM and over 250 more sounds

than its predecessor and features new drum and cymbal samples from top VST developers that have been optimized for DTX. Also voices inherited from our other DTX modules have been updated for improved playability and sound. The USB port allows control over VSTi software and lets you import custom wave files.

FOR MORE INFORMATION ON THE DTX RANGE OF PRODUCTS, CONTACT YAMAHA MUSIC AUSTRALIA AT AU.YAMAHA.COM, OR PHONE (03) 9693 5111.

THORAX VALVE MICROPHONE PREAMP BY SEBATRON

SA Ceceres music, maylands (08) 8331 9246 Flinders View music, Port Pirie (08) 8633 2133 Fleurieu music, Victor Harbor (08) 7522 4845 John reynolds music, Adelaide (08) 8212 4827 ProCo Stage and Sound, Whyalla (08) 8644 0033

Access Drumming, Cannonhill (07) 3399 7775 royce music, Toowoomba (07) 4632 7377

Trade Contact www.musicconnection.com.au sales@musicconnection.com.au Graeme Craske Ph: (08) 8331 8920

Conditions apply. See your dealer for details.

PG. 16 / MIXDOWN NO. 248 / DECEMBER 2014

This month Melbourne based Hi-end audio manufacturer Sebatron are highlighting their unique Valve Channel strip called THORAX. THORAX is a valve microphone preamplifier, equalizer and optical compressor designed for recording high quality vocals, bass, guitars etc.

As with the other Sebatron designs, the circuit is completely Class A and runs on a high voltage rail for a wide bandwidth, low noise floor and extended headroom. The preamp section of THORAX is one half of the Sebatron AXIS model, which was reviewed in last months November issue, Mixdown #247. This is a stellar front end preamplifier that can amplify audio signals from clean to coloured with one dial. It also has a very useful High Pass Filter that is fully variable from 40Hz up to 400Hz designed to remove

unwanted rumble and lower end noise. The THORAX optical compressor features a highly responsive circuit that can manage any dynamic signal and tame it to a quality that only very expensive compressors can do. This is due to a detailed peak level detector circuit that detects the transients in the audio signal and reacts according to the amount of average power making a tighter, faster compressive action that is free from any unwanted pumping or distortion effects. So if your recordings are sounding on the thinner side and could use some decent analog processing be sure to check out the Sebatron THORAX Valve channel strip.

FOR MORE INFORMATION ON SEBATRON PRODUCTS VISIT WWW.SEBATRON.COM OR PHONE (03) 9484 3789.

PRODUCT NEWS ISTANBUL MEHMET CYMBALS

AVID PRO TOOLS S6 CONTROL SURFACE Avid Everywhere is building momentum through the worldwide adoption of the modular Avid Pro Tools S6 control surface. Post-production and music studios around the globe are harnessing the power and intuition of the S6 to improve creativity, flexibility and productivity. The S6 is part of the Avid Artist Suite of audio production tools and is an important part of mixing audio for big budget film, TV and music. With the S6 , engineers can customize the surface with only the modules they need for great cost efficiency.

The ability to mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout also gives access to manipulate multiple aspects of the mix through the master touchscreen. There are too many features to mention here, so make sure you check it out online at www.avid.com

FOR MORE INFORMATION ABOUT THE RANGE OF AVID PRODUCTS, CONTACT AVID AUSTRALIA AT WWW.AVID.COM OR CALL 1300 734 454.

PM 502

COMPACT POWERHOUSE MADE IN GERMANY

Innovative, versatile and userfriendly, the PM 502 is the perfect powerhouse – equally suitable for mobile live applications and fixed installations.

The arrival of the Istanbul Mehmet range of ride cymbals is imminent. Cymbals built using a traditional Turkish cymbal making process with only the finest materials for unparalleled brilliance. Among the ranges that are bound for our shores are: THE MC JAZZ RANGE The MC Jazz series is designed to capture the sound of unlathed Turk cymbals with a light weight jazz ride. They’re built purposely to give you a dark and dry sound with great stick definition and mellow overtones. This is a cymbal perfect for the traditional Jazz drummer, or really anyone that’s searching for that perfect lightweight dark cymbal. Available in both 20” and 21”.

THE MEHMET LEGEND Another cymbal purpose built for Jazz drummers with the traditional Turkish cymbal making process. The Legend cymbals were designed with the aid of a Jazz drummers and offer a rich, warm and natural sound. Available in both 20” and 21”.

A glance under the bonnet of this powered mixer reveals innovative Dynacord engineering. A Class-D amplifier rated at 2 x 450 W RMS delivers the power, whilst the 100 V Direct Drive mode offers simple plug & play functionality for electro-acoustic installations. The PM 502’s 48-bit effects processor with its 32 editable presets employs the tried-and-tested PowerMate effects algorithms.

The user interface is perfectly tailored to the demands of day-to-day practice. A clever push encoder provides swift and easy access to all DSP functions. Also included are practical features such as an onboard MP3 player, compressor/limiter and a talk-over (ducking) function.

You’ll find additional features along with comprehensive information at: www.dynacord.com

• Weighs only 4.9 kg • Class-D Amplifier • 100 V line drive function • 32 editable presets • 5 mic lines, 3 stereo-in • Ducking function

• 2 x 450 W RMS (4 Ω) • 48-bit effects processor • 3 zones/master controls

MIKAEL Z TRIBUTE RIDE This cymbal was also crafted using the traditional Turkish cymbal making techniques used in crafting the legendary Jazz cymbals of the 1970’s. Dedicated to Mehmet’s esteemed Master, Mikael Zilcan, who taught Mehmet the true art of cymbal-making, The Mikael Z is a very special cymbal, built to enhance your array of sounds as a brand new musical timbre. It has a mellow tone with great stick definition. Available in both 20” and 21”.

FOR MORE INFORMATION ABOUT THE ISTANBUL MEHMET RANGE OF CYMBALS, CONTACT DYNAMIC MUSIC AT WWW.DYNAMICMUSIC.COM.AU OR VISIT ONE OF THE FOLLOWING DEALERS. DRUMTEK (VIC), REVOLVER DRUMS (VIC), JOHN REYNOLDS MUSIC (SA), DRUMMERS CO-OP (NSW), KOSMIC MUSIC (WA), PLANET MUSIC (NSW), HOBART MUSIC (TAS), BRASS’N’BLUES AND DRUMSHOP NEWCASTLE (NSW).

Bosch Communications Systems

25 Huntingwood Drive, Huntingwood, NSW 2148 T: 61 2 9683 4752 F: 61 2 9890 5928 E: boschcomms@au.bosch.com

MIXDOWN NO. 248 DECEMBER 2014 / PG. 17

PRODUCT NEWS AVID ANNOUNCES PRO TOOLS BONUSES

Pro Tools, one of the worlds most frequently accessed digital audio workstations, is furthering its stranglehold on the market with the announcement of some great new added bonuses. On top of the development of Avid’s Cloud Collaboration software that will be released in the not too distant future, the standard Avid support plan with all new purchases, upgrades and crossgrades for one full year. All customers who upgrade to Pro Tools 11

by December 20 will receive extended coverage through to March 2016. On top of that, upgrade

DYNACORD POWERMATE 502 mixer

costs for existing Pro Tools customers are lower than they’ve been before, with customers able to save up to 60% off previous upgrade pricing, now for only RRP $239. If Pro Tools wasn’t the number one workstation by a country mile now, it’s sure to be soon.

For more information on the range of avid products contact www.avid.com or call 1300 934 454.

ZILDJIAN BEER GLASs gift packages

Dynacord has launched the newest member of the PowerMate family, the PM 502. This new mixer brings with it a new level of performance with a host of new features while maintaining both analogue and digital capabilities. The pre-amps and ob-board effects engines make the PowerMate 502 an intuitive unit capable of being used in a number of environments in a number of different capacities. The unit also has programmable outputs, allowing independent delays and EQ to be applied and stored. The PM 502 contains everything required for servicing

the music market, while still being perfectly capable of operating in the commercial sector.

This is one powerful crossover product, truly the best of both worlds.

For more information on the Dynacord range of products, contact Bosch Communication Systems on (02) 9683 4752 or email at boschcomms@au.bosch.com

ROCK’N’ROLLER MULTI CART After a hard day labouring over your music, sometimes you need to sit down with a cold one. Hell, often I sit down with a cold one before I even get to the music. So it’s good to have, printed into the side of my beer glass, a reminder to get back to what’s most important. Zildjian, producer of some of the worlds finest cymbals, have just produced a line of beer glasses built for this very purpose, a quality pint glass with the unmistakable emblems of some of their classic ranges of cymbals. Right now the glasses are available in a pack that contains four glasses, each referencing a different line of classic Zildjian cymbals, or a gift pack that contains one beer glass, one Zildjian practice pad and a pair of Zildjian drum sticks. Either would make a

great Christmas present for the drummer that’s nearest and dearest to you. The summer months are fast approaching, and with the silly season at the door, lord knows that beer consumption is about to sky rocket. Why not knock the top off a cold one, pour it into one of these classic Zildjian pint glasses and thank whichever deity of your preference for making you a musician.

For more information about Zildjian GIFT PACKS AND TO LOCATE your nearest dealer, visit www.insidemusic.com.au

JMC ACADEMY BACHELOR OF SONGWRITING

Songwriters are an essential component of music, and the field of songwriting has grown exponentially over the past few years. It’s something that is rarely taught, with most songwriters honing their skills through trial and error and struggling through their own issues through the writing process. However, with always room for improvement, JMC Academy has introduced one of the very few songwriting courses in the country, teaching students valuable lessons about brainstorming ideas, overcoming writer’s block and expressing

themselves more effectively. The course also has a strong focus on how to harness the capabilities of new and emerging technologies in order to further your own work. The Bachelor of Songwriting incorporates all the components necessary to develop your own ability, for both relative novices and experienced songwriters.

PG. 18 / mixdowN NO. 248 / December 2014

For more information about the Bachelor of Songwriting, contact JMC Academy at www.jmcacademy.edu.au or on 1300 410 311.

The Rock’n’Roller Multi Cart is an 8-in-1 equipment transporter that’s far more innovative than any other utility cart available in the market.

Multi-carts reduce time and effort, moving gear in and out in less than half the time. The Rock’n’Roller is used by major TV networks, photography professionals and sports teams, where speed and reliability is paramount. Now equipped with R-Trac No-Flat wheels for cushion ride, low rolling resistance, light weight, and hitech appearance, the new range of Multi Carts are the best way to transport your gear around.

For more information about the Rock’n’Roller Multi Cart contact Dynamic Muisc at www.dynamicmusic.com.au or on (02) 9939 1299.

Buy a VoiceLive 3 and get a pair of

Buy any two

TC Electronic compact, X2

or X4 pedals and claim a FREE

studio monitors FREE!

Analog drive or boost pedal of your choice!

Buy a VoiceLive Play, Play Acoustic,

Play Electric or VoiceLive Touch 2 and get an MP-75 mic & gig bag

FREE!

Buy any two

TC Electronic Mini pedals

and claim a Spark Booster Mini FREE!

All offers are valid till 31st December 2014. Visit www.tc-helicon.com/promotions or www.tcelectronic.com/promotions for details and claim forms.

www.ambertech.com.au

|

sales@ambertech.com.au

|

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PRODUCT NEWS APOGEE ENSEMBLE THUNDERBOLT 2 AUDIO INTERFACE

Apogee Electronics has just launched Ensemble, a 30x34 Thunderbolt 2 Audio Interface that’s perfect for the home, project and professional Mac-based studios. The innovative strengths of previous products such as the Symphony I/O, Duet, Quartet and JAM are present in Ensemble, which harnesses the power of Intel’s Thunderbolt technology to create a product capable of meeting all of your recording, editing mixing and mastering needs. At 1.1ms, Ensemble offers the lowest round-trip latency performance of any all-in-one audio interface. The first Ensemble, launched in 2007, changed the way we thought

about personal studio interfaces and set a new benchmark in the market. Now, with 30 years of digital audio expertise, Apogee has again completely redesigned Ensemble, and are reaffirming their place as leaders in the field.

For more information about the Apogee range of products, contact Sound Distribution at www.sounddistribution.com.au or on (02) 8007 3327.

NEUMANN TLM 107 large diaphragm mic

PEARL CAJONS

Pearl might be predominantly known for the world class kits that they put together, but truth be told, there’s a lot more to their line of products than toms, snares and kick drums. Take for example their range of Cajons. Pear’s foray into unique Peruvian instruments might seem peculiar to those unfamiliar with this type of drum, but the products that they’re offering are nothing short of top shelf. Their cyclone Cajon is the latest in their line of such instruments. It’s finished in a classy black lacquer featuring burned orange racing stripes, a contemporary take on a classic shape. While the Inner Circle Multi Cajon is an all-in-one for those who frequent drum circles or are interested in the tone they’re so known for. Essentially, it is a Cajon, Conga and Djembe wearable option. Sit on top and play it as if it were a traditional Cajon, or simply unlatch the fold at the top and remove the core of the drum to use as a Djembe. Or, just to further demonstrate its versatility; place the inner drum atop of the Cajon casing to use it as a conga at a comfortable height. Pearls dominance on the drum world looks like its been extended to the world of Peruvian instruments.

For more information about the Pearl range of percussion instruments, and to locate your nearest dealer, visit www.insidemusic.com.au

SOLID STATE LOGIC (SSL) DUENDE NATIVE 64BIT AAX PLUG-INS As is the case with all Neumann products, the TLM 107 is at the height of its class. With five directional characteristics, an innovative operating concept, this large-diaphragm microphone is capable of perfect sound quality, regardless of the subject in question. Be it the faintest whisper or the loudest shriek, the TLM 107 is able to capture the sound without colour and without noise. It’s perfect for studio, broadcasting or home recording applications.

Its extensive performance spectrum and highprecision reproduction, very close to the original, make the TLM 107 universally applicable, opening up previously unknown design freedom possibilities in mixing and post-production. for more information on the newman range of products contact sennheiser australia on (02) 9910 6700.

GODIN SEAGULL EXCURSION WALNUT SERIES ACOUSTIC GUITAR

It’s rare to find a guitar made in North America for less than a thousand dollars. Especially if it’s put together by an experienced team of Canadian instrument builders and is finished in genuine lacquer. In fact, if you were to find one, you’d be excused for thinking the quality might be compromised, or that it might be an entry level model. With the Seagull Excursion Walnut series though, this is certainly not the case. These are exquisite guitars, the reason they are so affordable isn’t because they’re poorly made, it’s because the team at Godin are the beneficiaries of circumstance. The use of revolutionary manufacturing techniques coupled with the fact

that they are situated so close to the woods they source for the guitars they build, mean that the production costs are minimised, and the Godin team are afforded the opportunity to pass the savings onto the customer. These guitars all feature spruce top and walnut back and sides made of a 3-layer lamination of real hardwood, with the option of Fishman Isys + electronics.

All in all the Seagull Walnut may be one of best value instruments on the market.

PG. 20 / mixdowN NO. 248 / December 2014

for more information on the range of godin products visit www.dynamicmusic.com.au or phone (02) 9939 1299.

Solid State Logic has now officially announced the availability of ‘AAX Native 64’ versions of the acclaimed SSL Duende Native plug-in collection.

SSL Duende Native plug-in collection delivers SSL’s renowned signature superior audio quality, sophistication and benchmark performance to inside-the-box DAW audio producers. The Duende Native range has grown to the current portfolio of 10 different beyond benchmark quality processing tools. The release of new AAX (Avid Audio eXtension) versions makes SSL’s Duende Native plug-ins compatible with any 32bit or 64-bit system running Pro Tools /Pro Tools

HD 11 software. The continued compatibility with VST, AU and RTAS systems means that SSL plug-ins are available to almost all DAW users.

The new versions are available to download now from the SSL web site and are free to all existing owners. Duende Native plugin bundles are available from your local SSL dealer and for individual sale from the SSL online store.

For more information on the range of Solid State Logic products, phone Amber Technology on 1800 251 367 or visit www.ambertech.com.au

Calling all Wireless Micro

phone and In-ear Monitor

Operators:

Make sure you’re still working after 1st January 2015 After 1st January 2015 any wireless microphone or in-ear monitoring systems in the 694MHz-820MHz frequency range will either no longer work or be operating illegally in that bandwidth.

If you are affected by the Digital Dividend Restack simply bring in your affected wireless systems to an Authorised Australian Shure Reseller or visit readyfordigital.com.au for more information.

Trade in your old wireless systems and save up to 20% on participating Shure wireless systems. Potential savings are a guide only and other seasonal sales and promotions may cause variations between Resellers.

Terms & Conditions Apply.

1. This offer is valid for any trade-in completed between 1st July 2014 – 31st May 2015. All equipment must be handed in to an Authorised Australian Shure Reseller by 31 May 2014 (the Authorised Australian Shure Reseller will process and dispose the traded-in goods and return the completed paperwork to the Shure Distribution Centre). 2. Access to any extra discounts offered by an Authorised Australian Shure Reseller applies for channel-for-channel trades of complete systems. 3. It is the Authorised Australian Shure Resellers discretion how much of the extra trade-in discount is passed on to the customer in conjunction with other seasonal sales and promotions. 4. Any wireless and in-ear systems will be accepted as part of the trade in offer. The traded in system does not have to be in the frequency range becoming illegal.

Distributed by

www.jands.com.au

JUDAS PRIEST HEAVY METAL SALVATION

It’s not every day that a legendary band who started rocking the world in the 1970s scores their most successful chart result ever, a whole 45 years after forming, but Judas Priest have just achieved that incredibly rare feat, racking up an impressive #6 Billboard album chart review for their seventieth album, Redeemer Of Souls. It’s also the first Priest album to feature guitarist Richie Faulkner, who stepped into the role following the 2011 departure of K.K. Downing. Faulkner is no mere hired hand: he’s a vital member of the song writing team and has an uncanny ability to balance the rightfullyexpected qualities classic Judas Priest with a more modern flair. I managed to get Faulkner on the phone at the unholy hour of 2am to talk about the new record and his guitar-collecting addiction ahead of the band’s return to Australia, this time as one of the headliners of Soundwave 2015.

Well let’s start with the guitars. Did you have a main axe for Redeemer of Souls?

Yeah, I used primarily the guitars that I was using on stage on the Epitaph tour. The main one is an 80 or 81 three-pickup Les Paul Custom. It’s one of those solid workhorses, y’know? The tuning is great and you know exactly where you are with it.

It’s got a great tone, so that was the main guitar I used. Then there were other guitars, and it’s a Priest record so you’ve got to get the whammy bar out… what do you call the whammy bar in Australia? Cos I know that in the US they call it a whammy bar while in England it’s a tremolo arm…

We call it a whammy bar.

Oh so it’s a whammy bar there too!

Yeah. We side with the US on this one, and we side with the UK in using the term ‘valves’ instead of ‘tubes.’

Great, that’s nice and confusing! So yeah, I used two of my custom Flying Vs on it. Some things have different textures or different sounds and you can’t necessarily put your finger on why it works. So primarily it was the three-pickup 80s Custom and the Vs. And then I’ve got another custom V that I didn’t play live, which is a white

one and it’s beautiful. It’s based on the ’58 shape, like the Korina V. I used that for a few things. And everything had EMG pickups, either 81 and 85 or the new 57/66 combos, apart from the white V which has stock Gibson factory pickups. So that was it. I don’t think I used anything apart from Gibson, through and through. It’s what I’m used to, what I’m familiar with and what I’m comfortable with. When you’re in that sort of setting you want to be comfortable so you forget the instrument almost. You want to concentrate on what you’re doing and what you’re feeling and worrying about, whether it’s going to respond in the right way. With the Gibsons, I don’t have to worry about it.

This album really sounds like Judas Priest; did you feel any pressure to do that?

Well, I never use the word pressure, really. It’s kinda like energy. You can thrive on pressure but the word pressure kind of has that negative connotation and I’ve never really felt that. I knew as a Priest fan what was expected just going in, before the live stuff. I knew the duty that was bestowed upon me from the Metal God, so I knew what I had to represent and uphold. It was part of my musical character from my early teens anyway. Growing up with bands like Thin

PG. 22 / MIXDOWN NO. 248 / DECEMBER 2014

Lizzy and their dual guitar attack, Priest, Maiden, it was that metal thing going on, but also the twin guitar stuff. So when you’re writing songs when you’re 13, 14 you look to these guys for a master class on how to write. How they convey emotions with certain textures, or how they put that riff to that riff or change keys there. It was inherent in my musical make-up, so when we got into the studio setting after this Epitaph tour, first of all we’d already built up relationships and gained trust and became brothers over this short amount of time because of the condensed atmosphere of the tour; you live on the road, on the bus, on the plane, so trust is earned very quickly, or it isn’t and you don’t last very long. So when we got into the studio, all of those things came into play. If you’ve got an opinion, put it forward and it’s going to be listened to. It wasn’t a case of “I’m Glenn Tipton, this is my idea, like it or lump it.” It was “Here, what do you think? Got anything to go with it?” It was an incredibly free experience and a creative one. Watching those guys come up with ideas that they add to, or they add to your ideas, it’s just a thrill, y’know?

So it wasn’t really a pressure. It was kind of like a duty to yourself and to Judas Priest. You’ve got to do what you do, and respecting first who went before you but also the brand, if you like, of Judas Priest.

When I went in to meet Glenn and Rob the first time, I hadn’t got the gig yet and we had a chat about what they wanted. Glenn said “I feel a bit embarrassed to ask you to play a few things, because if I was put under the spotlight like this, I wouldn’t know what to play. So I feel for you.”

And I said “Glenn, I’ve been playing as a lead guitar player all my life. If I can’t play something for you now, with this opportunity, I might as well give up,” y’know what I mean? You’ve been playing all your life and it’s ingrained into you, and when you get an opportunity like that you just have to take it.

Now, I follow you on Instagram and a while ago you were guitar-shopping and you turned to your followers for a bit of guidance on which of two guitars to choose…

Oh yes. I’m always looking for guitars. When we’re on tour, wherever we are, I always dump my bags in a hotel, jump in a taxi or a train or a bus and locate the local mum and pop guitar stores. The smellier the better. I love old guitars, heavy guitars, old Les Pauls that have been gathering dust up on the wall that can tell stories, they’re the ones that I’m after. And there’s this guitar store in Rochester, New York and I went out there after I’d seen a few things online. I’d been meaning to get out there for a while, and they had these two… it was a beautiful customorder Les Paul with a single P90 and a Bigsby, just beautiful. I thought it was unique and I loved the sound of the P90. And then the Bigsby, it was just a beautiful, beautiful thing. And then they had this custom black V which I was used to playing anyway. And it had the Richlite fretboard so I thought I’d give it a try. I’ve seen various reviews, and the great thing about the guitar fraternity is that everyone’s got an opinion and there’s this great big conversation about weight and resonance, whether a lighter guitar’s more resonant or a heavier guitar is more resonant. I couldn’t care less, to be honest with ya. If it feels right to me, that’s what I’m gonna go with. The Richlite felt and sounded great so I ended up getting them both. They were both black with gold hardware and I couldn’t separate them. I had to do a Wayne’s World; “Not today, my good man, I’m feeling saucy.”

BY PETER HODGSON

JUDAS PRIEST WILL BE PERFORMING AS A PART OF SOUNDWAVE FESTIVAL 2015. FOR MORE INFORMATION VISIT WWW.SOUNDWAVEFESTIVAL.COM

PG. 23 / mixdowN NO. 247 / NOVEMBER 2014

UNEARTH ALL EYES AND EARS

Unearth have been slogging it out on the metal scene for 15 years now and have proven themselves to be real stayers, helping to remind folks that seven-string guitars can be used for more than just open-string chugging and showing that you can combine the punishing groove of Pantera with the melodic sense of Sweden’s Gothenberg sound, all filtered through an aggressive metalcore lens. New album Watchers of Rule is a consistently brutal chunk of metal by anyone’s standards. But this far into Unearth’s career, it’s almost exhilarating to hear them continuing to release vital albums full of songs that are destined to live on in the setlist. We caught up with guitarist Buz McGrath right after the album’s release.

Let’s start with the guitar stuff. What did you use on this album?

We used a Rhodes amp. I don’t know what it is. And I think we used one of Ken’s old custom Ibanez RGs that won the shoot-out. Usually what happens is, we go through a stack of about 15 guitars and we record the same piece of music, the same riff, with each guitar, and you go through and listen to which guitar is sounding the best with what you’ve got, and that one won. It was between that one and, Ken had a custom three-pickup Ibanez Iceman with EMGs in it. That thing weighed a f**king tonne but it sounded sick. But the other one just beat it out by a little bit. We recorded with a Kemper via DI, and then [producer] Mark Lewis took it back to his studio and re-amped it through various amps, which I wasn’t a part of the process for. He would send me mixes with different amps and I’d say ‘this one sounds good.’ So I never even saw the amp. It’s a real weird way of doing it but it worked out good.

Are you using Kempers live or are you a realamp guy for the stage?

I just switched over to Kemper. I wanted to hate it so bad but it’s awesome. Ken had one and we were onstage one day getting set up for soundcheck and I was like ‘Dude, that sounds f**king sick. I’m going to get one. If I get one will

you give me all of your profiles and everything?

Can you load it up and get it working for me?’

So I ordered it, took it to his house, played it and it was great. I mean, we used a real amp on the record just because under that microscope you can kind of tell a little bit, at least for my ears, so we used a real amp for that. But for live, doing what we do, you’d never know. It sounds better because we’re going out of the Kemper into the PA and just running a cab onstage for monitoring and it sounds amazing.

Are you still rocking your ESP signature guitars?

Yeah! The ESP BUZ7, which is a great guitar. I love it. I’m trying to get them to do a redo of it with a twist, maybe change some of the features.

Mainly just the paint, do something different with it. I’ve got a couple of customs too. I’ve got a nice custom that’s in the style of the BUZ7 but it’s got a flame top, like a vintage violin finish with a maple fretboard, and then I’ve got a Silverburst Horizon Custom that’s pretty rad, and I’ve got another custom on the way. The Horizon FR7 is one that I kinda keep around.

So how do you guys write songs? I saw some dudes on Twitter saying it’s amazing how you’ve managed to avoid the ‘djent trap.’

No, I would love to have some of that in there;

I just don’t think we know how to do it! Some of that stuff is cool. Some of those grooves I really like, and I think we probably even had a couple of parts that might have been like that but didn’t really jive with what we were doing. Basically I would sit at home, record some riffs, email them to our drummer and he would send them back with three different beats, and I’d start piling up riffs and making songs out of them. There were some full song ideas that would just come and there were others that would just go into the bag of riffs. It was a cool way to do it. It beats sitting in a jam room slogging it out with a drummer trying to show them this complicated chugging riff that he then has to figure out how to do with his feet while everybody waits. That’s not to say getting into the jam room was bad because there’s a lot of spontaneity when you do that.

But it’s way healthier to get in the zone and work it out on your own. I’ve got a spare room in my home where I keep my guitars and I just use GarageBand. I use this old Zoom GTU effects pedal and I don’t even know how to change the tones any more: I just plug in and it sounds awesome.

and Esoteric Warfare, which came out this June.

“We are a 30-years-old band and I think we have five or six full-lengths and maybe two EPs or something like that. It’s almost like every four or five years something happens. Every album it could be almost another band. If you put them side by side, if you listen, you realise the Mayhem tone, but it’s always a completely different aspect or context. With the new album, it’s kind of different from the other albums.”

In addition to releasing Esoteric Warfare (which is in fact the band’s fifth studio album), Mayhem have spent the majority of 2014 on a 30th anniversary tour. Considering the band’s exceedingly chequered history, this achievement is certainly worth celebrating.

“It’s amazing, it really is,” says Csihar. “It’s unbelievable. To play heavy metal for 20 years, I couldn’t dream that. It’s really amazing, the band itself – they formed in ’84. I had my first band Tormentor, in Hungary, which was from ’85. I was like 16 when I was [the] first time onstage, now I am 43 – so it’s like 29 years onstage.”

The group’s determined perseverance is impressive, but more significantly, Mayhem remain a chillingly distinct force in heavy music.

So is Csihar surprised Mayhem’s appeal has endured this long?

“When they sent me the new stuff, which was supposed to be De Mysteriis Dom Sathanas, I was like, ‘Wow,’” he recalls. “That was a huge step ahead. That was like different compositions and the drumming just blows my mind away.

Still today actually, I can’t really understand how Hellhammer can pull this off. I was totally blown away by that, when they could combine the slow rhythmics – it’s a blast beat going on but it’s a very slow-motion [rhythm] also going on in the background somehow in the structure of the music. I was very, very impressed by that.”

Will we be seeing Unearth in Australia any time soon?

Yeah I’m hoping so, we’re just waiting for someone to call us up and say ‘C’mon down!’

BY PETER HODGSON

WATCHERS OF RULE IS OUT NOW ON 3WISE RECORDS.

MAYHEM BLACK METAL GODS

Rock music has plenty of sinister offshoots, but no genre feels more like a direct broadcast from the dark side than black metal. To conjure such pervasive darkness, it seems necessary that the creators be subsumed by morbidity. Norwegian black metal pioneers Mayhem are responsible for some of the genre’s most brilliantly scary music, but embracing ghoulish transgression for creative purposes has had some particularly devastating side effects.

“We were ahead, we pushed the boundaries – and the guys too,” says Mayhem vocalist Attila Csihar. “Some guys went into the wrong direction, I believe, and they kind of stepped over.”

Mayhem formed in 1984, and like the majority of bands with a tri-decade career, many members have come and gone since that time. Only, Mayhem’s backstory contains some uniquely frightening plot twists.

Himself a Hungarian native, Csihar (pronounced chee-har) joined the band in 1992 after former vocalist Per Yngve Ohlin (better known by his stage name, Dead) committed suicide. Csihar was invited in by founding guitarist Øystein ‘Euronymous’ Aarseth to sing on Mayhem’s debut full-length release, De Mysteriis Dom Sathanas. The album’s since been certified a black metal classic, but prior to its release Euronymous was brutally murdered by bass player Count Grishnackh (who was recruited at the same time as Csihar).

“It’s always hard to find your own borderline,” Csihar says. “A balance of how far you can go, and you shouldn’t go further because that’s madness with a capital M. Of course, it happened to us, because we were the first to deal with this and the shit hit the fan and the band got ruined.”

Indeed, by the time of the record’s May 1994 release, Mayhem had unsurprisingly split up.

Though, the period of inactivity didn’t last long.

In 1995, the band’s drummer Hellhammer took it upon himself to put Mayhem back together,

re-enlisting original singer Maniac and founding bass player Necrobutcher, as well as the new guitarist, Blasphemer.

“Luckily the guys kept going on, they built it up again,” Csihar says. “They did some really amazing albums; Grand Declaration Of War [2000] and Chimera [2004]. Grand Declaration Of War was very important I think, as an artist, because they managed to kick some boundaries.

They managed to get out of the box of black metal itself and just push it a little bit wider. It was a really important step for the band.”

While Csihar admits he was a little shaken up by his stint with Mayhem, he didn’t opt to step away from black metal. Rather, he went on to release albums with Italian band Aborym and Norwegian outfit Keep Of Kalessin, as well as enacting an ongoing partnership with drone metal gurus, Sunn O))). He didn’t keep too much distance from Mayhem either.

“Of course in ’93, yes, because everything just went down,” he says. “But then we got back in touch in a few years after that. Necro asked me, ‘If something happens, [would you] be interested [in rejoining]?’ I told him, ‘Hey man, of course I am,’ because the band is important for me. But I told him, ‘Don’t expect me to sit here at home and do nothing,’ so I did my other bands.”

In 2004, Maniac resolved he could no longer endure the touring lifestyle and Csihar stepped in to resume his post as Mayhem’s imposing frontman. Since his re-entry, there have been two new Mayhem records – 2007’s Ordo Ad Chao

PG. 24 / MIXDOWN NO. 248 / DECEMBER 2014

BY AUGUSTUS WELBY

MAYHEM PLAY SOUNDWAVE FESTIVAL 2015. FOR THE FULL LINEUP AND DATES VISIT WWW.SOUNDWAVEFESTIVAL.COM

CROWN THE EMPIRE FOLLOWING UP WITH CONVICTION

Chances are, when you think of Dallas, Texas, there are a few things that come to mind: Cowboys, Mavericks and conservative politics for instance.

Rising Dallas six-piece Crown The Empire are doing their darndest to add metalcore to that list.

Off the back of their July release The Resistance: Rise Of The Runaways, Crown The Empire will head our way early next year. In contrast to The Fallout, the band’s 2012 debut, The Resistance pushes everything to the extreme. The choruses hold TV commercial potential, the breakdowns smack like a keg of Guinness to the head and the quiet moments are decidedly melancholy.

“We don’t want to restrict ourselves to a specific type of song,” says one of the band’s two lead vocalists, Andrew Velasquez. “There’s so many bands who have a great song and you’re like, ‘Wow, this is kickass, let’s see what the rest of the record’s like,’ and it’s the same song over and over again. We didn’t want that at all.”

The Fallout was written when the band members were still in high school. Motored by the blessed spirit of youth, the record hinted at plenty of potential for Crown The Empire, but it wasn’t a fully realised product. When it came to The Resistance, they applied extra effort to make it a multi-faceted experience.

“With The Fallout we had, like, a month to do it all and with The Resistance we had three months to do everything,” Velasquez says. “Everybody has different musical influences in the band.

Now that we had the time and the resources to do it, there are so many different types of songs on that album. It goes from one end of the spectrum to the other, where it’s down and heavy riffs and straight screaming to a piano ballad, a love song.”

Adopting a genre-snubbing attitude requires a certain amount of fearlessness. However, that’s not to say the creation of The Resistance was devoid of anxiety. “Going into it, we had the fear

in us,” Velasquez says. “It’s the second record – everybody puts out a second record and the general consensus is that it’s hated by a lot of people. People will be like, ‘Oh, they changed their sound, they’re so mainstream now,’ or ‘I like their first record best.’”

Despite such imposing thoughts about how The Resistance would be received, the band was ultimately able to satisfy its own creative agenda. “There was a fear and there was a stress, but we were able to use the stress in a constructive way to make our album the best we possibly could,” says Velasquez. “Once we got to that point where it was wrapped up, we were confident. We were like, ‘OK, this is the best thing we could’ve possibly put out and we know this.’

“Luckily, the reception was awesome,” he adds.

“We got to number seven on the Billboard Top 200, we got the number one rock album in the country. It was awesome. That was a weight off my shoulders.”

Speaking of difficult weights to bear, Crown The Empire is a widely collaborative venture.

Combining six creatively active personalities is basically a recipe for disaster. Add to this the band’s studio-only seventh member, and you must wonder how the band keeps from imploding.

“At the end of the day we’re all working towards the same goal,” Velasquez explains. “We all want this band to be as successful as we can possibly make it. We want as many people to hear the record as we could. It’s not easy telling your best friend, ‘Yo, this part sucks,’ but we all have the same goal in mind, and we manage to fit a lot

of everyone’s ideas into it. It’s the dynamic that makes us who we are.”

Scoring a deal with Rise Records not long after forming, touring has more or less been a full-time commitment for Velasquez and his bandmates since they finished high school. Sending six excitable youngsters out on the touring circuit seemed fated to wind up in a haphazard mess.

Unfazed, the 20-year-old Velasquez says they’re actually fairly relaxed.

“We all manage to keep ourselves level-headed.

We’re strong with each other. We definitely do get down, but it hasn’t been an issue. Nobody is doing some crazy shit.”

Crown The Empire are headed our way next year for Soundwave, a festival that regularly juxtaposes a giant crop of rising acts with a bunch of accomplished elder statesmen. Rather than feeling competitive, Velasquez says being surrounded by stacks of crusading musicians is an impetus to better his own craft.

“When you’re playing a show and you watch the band that plays before you putting their heart and soul out on that stage and trying to appeal to everyone, it gets me pumped. I can’t sit still at a show. If I could be in the crowd, I would be in the crowd with everyone else.”

After visiting for last year’s Warped Tour, Crown The Empire are thrilled to be coming back “Down Under”, especially for an event as prestigious as Soundwave.

“I remember seeing all the rosters previously and just being like, ‘Wow, what an opportunity it would be to do that.’ They brought us over, maybe to test the waters to see how we did the first time, and luckily they’re bringing us back. So we’re excited to be there.”

BY AUGUSTUS WELBY CROWN THE EMPIRE PLAY SOUNDWAVE FESTIVAL 2015. FOR MORE INFORMATION VISIT WWW.SOUNDWAVEFESTIVAL.COM

TV ON THE RADIO OUTSHINING THEMSELVES

Seeds, the newly released fifth album from TV On The Radio, comes three and a half years after the band’s last effort, Nine Types of Light. Close followers of the Brooklyn outfit will most likely be aware that longtime bass player Gerard Smith succumbed to lung cancer just days after that albums release. Smith’s death didn’t nullify the band’s immediate live commitments, but after the remaining four members wrapped up the Nine Types of Light touring campaign, the likelihood of another TV on the Radio record was in doubt.

A promising development came in mid-2013, with the release of back-to-back singles ‘Mercy’ and ‘Million Miles’, but hopes were quieted somewhat by an accompanying announcement, which explained these tracks weren’t attached to an LP. However, re-grouping without the imposing task of making a whole record proved effective for reviving the band’s collaborative zeal. Hence, the development of Seeds proceeded almost immediately.

The record has been in the hands of TV on the Radio’s many hungry adherents for a couple of weeks now, and the band’s front man Tunde Adebimpe isn’t afraid to voice his excitement.

“When we were making it and when it was finished, we knew that it impressed us,” he says.

“It’s a nice thing to listen to a record and almost feel like you didn’t make it because you like listening to it so much.”

TV on the Radio began as a project for Adebimpe and guitarist/producer Dave Sitek, back in 2002.

The band’s major breakthrough – creatively, critically and commercially – was its second LP, 2006’s Return to Cookie Mountain, which was also the first recording to feature the complete five-piece lineup.

Since that time, there’s been no decided bandleader; multiple members receive songwriting credit on each album and each individual’s exact role isn’t easily defined (for instance, drummer Jaleel Bunton is just as likely contribute guitar to recordings as guitarists Sitek and Kyp Malone).

“That wouldn’t work, I don’t think,” Adebimpe explains. “I feel like whoever tries to be the leader of the band would find themselves alone very, very quickly. During the recording and writing process, everybody throws in what they can. Whatever sticks makes it in and whatever everyone decides ‘that’s just not really working’ gets tossed away.”

Stepping forward without one fifth of their established personnel could’ve potentially upset the band’s fruitful dynamic. But during the development of Seeds, the mutually contributive format prevailed.

“When you’re doing something for so long, you recognise dynamics within the band,” Adebimpe says. “Whenever I’m writing a demo, very rarely will I write a song that’s completely fleshed out and just say ‘Ok, you play this, you play that.’

That’s not utilising our connection between each other. I’ll leave spaces when I know that Kyp’s going to put something there. I don’t know exactly what he’s going to put there, but that’s his zone and he’ll round that out. And Jaleel will do this and Dave will do that and everyone kind of knows that without me saying anything.

“Collaborating with anybody on anything is going to have its moments,” he adds. “You’re not the same person. That’s the thing that makes it so great – you can bounce things off of each other and it ends up being this thing that’s representative of all of you, hopefully.”

Looking through TV on the Radio’s back catalogue, on each record the band’s generated

an unmistakable sonic presence, while continuing to uncover compositional variations.

Something conducive to this achievement is the band members’ commitment to spurring each other on.

“We always call each other out for not pushing stuff far enough,” Adebimpe says. “If somebody makes something and you know it can be better and they want to leave it the way it is, that’s when it gets a little like ‘what are you doing?’ That’s when it gets a little big brother and little brotherish, where you try to bully someone into being better than they’re letting themselves be.”

Attempting to succinctly describe what distinguishes Seeds from its predecessors, words such as ‘immediate’, ‘streamline, and ‘aerated’ spring to mind. To be more specific, the record comprises tracks like ‘Could You’, which features a jangly, eastern inflected guitar line and a positively infectious power-pop chorus.

While the record’s now circulating through the public domain, speaking during a prerelease US tour, Adebimpe reported that the new songs were “going over really well” live,

causing audience members to “sing along to something they’d never heard before, which was an awesome feeling.” This immediate embrace is an indication of the melodically incisive character of several of the album’s tracks. As for whether the band felt nervous about satisfying external demands with Seeds, that’s never a pressing concern.

“It’s not that we don’t care what anyone else thinks,” Adebimpe says, “but it doesn’t really have a bearing on what we think about what we’ve done. Just the fact that we can still do it and want to do it, we’re already miles ahead of any sort of expectations that might come from the outside.

“That’s not to say I hope people don’t like it. I’m really excited to share this record and to play it live. I’m really excited for people to hear the whole record, we just like the entire thing.”

BY AUGUSTUS WELBY SEEDS IS OUT NOW THROUGH EMI.

PG. 25 / MIXDOWN NO. 248 / DECEMBER 2014

THE CLEAN A TIDY TALLY It’s impossible to talk about New Zealand’s musical history without mentioning the venerable stable of Flying Nun Records, and it’s impossible to mention Flying Nun without referencing one of the label’s most revered outfits, The Clean. Over thirty years on from debut single ‘Tally-Ho’, the unkempt pop genius of The Clean resonates stronger than ever, with the band settling into a touring formation of Kilgour brothers David and Hamish alongside bassist Robert Scott in the past five years, enjoying a residual and longoverdue groundswell of newfound fandom. Speaking ahead of the band’s return to Australia, founding member David Kilgour looks back to rationalise The Clean’s staying power and resurgence.

You’re returning to Australia early next year for a run of dates. Is there much foresight beyond each tour?

Yeah it’s always one tour at a time. Sometimes we might go without keyboards, sometimes we might go with keyboards. Sometimes we might do a tour and say let’s experiment, and do more unknown tracks from the catalogue. It’s different every time. I just wonder how long we can go.

I’m a typical artist, in a stage of becoming. The Clean’s a different thing. My main motivation is the solo stuff I do with The [Heavy] Eights, where The Clean only go on tour when we’re asked to, for a festival, then we’ll book a few little gigs around that, like in the US. But that’s how we’ve been operating the past few years.

Is it difficult for the three of you to align motivation?

The three of us love playing together. Before we get on the road it can be a case of “Here we go again”, but as soon as we get on stage, we just really love it. That’s what it’s based on, and we’re just really lucky people still want to see us play.

There has seemed to be a resurgence in your popularity in the past ten years or so. Can you put that down to the accessibility of the internet?

I think the internet’s definitely helped. With America, you can go right back to [1990 album] Vehicle. That was a later LP, really, we

reformed to make Vehicle. That got across to a lot of people in America. There’s always been the interest since then. I think when Merge [Records] put out the anthology in America and Europe on CD, about ten years ago now, that definitely started to change things. But it’s weird, it’s still growing. Every time we go back to America we play slightly bigger crowds and slightly bigger clubs with slightly better offers.

It’s an incremental development, getting bigger every year. Last American tour, some of the shows were just playing to kids. Well, when I say kids I mean people in their early 20s. And they’ve only just discovered The Clean, and they’re fanatics, they know all about Flying Nun. I ask them when they discovered us and they say, “Oh, a few months ago”. It’s still going on, it’s really endearing.

Though The Clean haven’t had widespread popularity, there has been that tangible influence on a lot of bands in the past few decades.

There’s still a wee bit of that, which is good. In America – which is our biggest fanbase, if you’ll call it that – Yo La Tengo had a lot to do with that, they would drop our names. The whole thing with America, especially with my solo stuff, is to do with Yo La Tengo. There are other connections.

It’s pretty mind blowing, if you’ll put it that way, that people want to see The Clean play, and we get flown to the other side of the world in Spain.

It just blows my mind. But at the same time, it’s been a slow build up [laughs].

Will that translate into new recorded material in the future?

We’ll never say no. There are no plans, and there haven’t been any plans for a while. We just take every year as it comes.

There was the tragic loss of Peter Gutteridge [Snapper, The Clean] in September this year.

Back in February, he joined The Clean on stage for your Wellington show.

That’s right, and he joined us for a couple of shows in Dunedin before that. Peter’s always been a good mate, and we’d always been in touch. He was a dear old friend, he really was.

It’s just a reminder of how fickle life can be.

And around that time of those shows you played Camp A Low Hum during a torrential downpour, with a huge stage invasion at the end.

Oh wow, you saw that show? That was crazy.

That was such a cool gig, one of the most fun gigs we’ve done.

It was crazy as a fan onstage, what was it like as a performer?

Ha, well what do you think? I’m a middle aged man, then all of a sudden all these young fans

are on stage. Fuck, that’s one of the best gigs we’ve ever done as The Clean. We just loved that show, it was magic. Just a joyous celebration, that’s what we want The Clean to be. Just go nuts if you want to.

Are you in touch with current underground Kiwi music?

There’s some great stuff happening here. It’s tough to keep in touch with what’s happening.

Camp A Low Hum is a great example, I really wanted to see all the bands, but it was such a shitty day in terms of weather. But there is so much happening, especially with underground and DIY music. With what [A Low Hum founder] Blink has done, he’s just a fucking asset to this country. And good on him for doing it.

BY LACHLAN KANONIUK MOFO TAKES PLACE IN HOBART, AUSTRALIA, FROM JANUARY 15-18, 2015. THE CLEAN PLAY ON SUNDAY JAN 18 AT 9PM ON PRINCESS WARF, STAGE 2. FOR TICKETS AND FULL LINE-UP DETAILS VISIT WWW.MOFO.NET.AU

TOUR DATES JANUARY 20 — SYDNEY FESTIVAL, SYDNEY NSW JANUARY 22 — THE CORNER HOTEL, MELBOURNE VIC JANUARY 23 — THE ROSEMOUNT, PERTH WA JANUARY 25 — THE BRIGHTSIDE, BRISBANE QLD

KING GIZZARD AND THE LIZARD WIZARD

BEING MINDFUL I’m sitting in a cosy North Melbourne bar, nursing a few pints with King Gizzard And The Lizard Wizard vocalist-guitarist-flutist Stu Mackenzie and guitarist Joe Walker, an hour away from this year’s AIR Independent Music Awards – last year’s ceremony saw the Gizz boys pick up a tidy $50,000 grant. We’re here to talk about I’m In Your Mind Fuzz, the fifth full-length LP released with dizzying proliferation. It’s the band’s final week in Australia for some time, with an extensive return to the US for the second time in 2014 looming on the weekend, backed up by a European expedition that will see out the majority of the remaining year.

Continuing their jack-knifing stylistic resolve, I’m In Your Mind Fuzz doesn’t sound like any other King Gizz album; its experimental elements more subtle than previous conceptual pursuits.

“There are quite a few experiments in there,” Stu explains. “The first few tracks are based on the one thing, a sort of song cycle. That was an experiment putting that together, they were all recorded separately and pieced together. We experimented a lot with production more than anything,” he reasons.

“A lot of producers would say it’s the worst possible way to go about recording an album, traditionally,” Joe adds. “But this works with the aesthetic, you can hear all the weird out of phase, the clicks.”

“Specifically by themselves, it was unintentional.

But we wanted to make it sound mashed up. I wanted to make this record sound like a band, more than anything we’ve done before. It’s hard to make it sound like that when you’re not listening to it loud. I think you need those random, loose elements,” says Stu. “Throughout

the record, there are a lot of repetitive motifs.

The same riff will come in on five of the songs, contextualised with a different timing or different key; reimaging these ideas.”

“It’s the most holistic thing we’ve done.

Oddments, hence the name, was more of an idea and aesthetic. Float Along was ten songs, and that was the album. This is the longest we’ve worked on an album. We worked on our set, and then toured America with it. It’s sweet, we’re very happy with it,” Joe states.

With grant money in tow, King Gizzard set off for the US of A, not letting their geographical shift impede their prolific workflow. “We did half of the album before we left,” Stu says. “The songs weren’t finished. We did the rough outlines of half of them, and most of the other songs were vaguely written before we left. We did one half at the studio we always work at in Fairfield, then the other half at Daptone in Brooklyn.”

At a recent run of hometown shows, Stu brandished his newfound skills on the flute – an

PG. 26 / MIXDOWN NO. 248 / DECEMBER 2014

instrument that features throughout I’m In Your Mind Fuzz. “I made a pact with myself that I’d try and learn a new instrument every year till I’m dead,” Stu deadpans. “I learned flute for a while, and it kind of crept its way onto the album. When we were living in America, I was practising it every day. That was the thing I had to do every day to fulfil my pact and maintain my sanity. Then it just filtered its way onto pretty much every song on the album.”

History dictates that we shouldn’t be waiting too long for the next King Gizz offering. “Every time a record comes around, we’ve been talking about the record for six months. So when the time comes to put together songs, you know exactly what they’re going to sound like,” says Stu. “When we’re in America this time around we’re going to do some more recording. One of the songs is already done. It’ll be different again.

I don’t want to give away anything, because we’ll probably change our minds 300 times before it comes out.”

With momentum still barrelling ahead for the mighty Gizz, Stu is pragmatic when it comes to long term ambition. “Personally, I just sometimes feel like I was more normal. Just to have a normal

life. I’m a simple kind of guy. I want to do basic things with my life, as well as creative things with music. I feel that decision in every classic rock autobiography where they have to choose between two things in their life,” Stu says.

Throughout their rise and their current overseas traction, King Gizzard And The Lizard Wizard are a band that operates on their own terms. “I think from really early on, we always wanted to be independent,” Joey says. “Then as time went along, we had these opportunities with labels, and we’ve decided to stick to our guns. Eric [Moore], our manager/drummer, has started his label, then we signed with Remote Control, and that’s been all on our own terms. Musicians can be doing really well, but they might not have the creative control that we have. There’s no external force or pressure other than within the band, and that’s purely musical. And that’s kind of great.”

BY LACHLAN KANONIUK

I’M IN YOUR MIND FUZZ IS OUT NOW THROUGH REMOTE CONTROL RECORDS. FOR FULL TOUR DATES VISIT WWW.KINGGIZZARDANDTHELIZARDWIZARD.COM FOR MORE.

SEEKAE THE BOYS ARE BACK IN TOWN Since the release of 2008’s chiptune-indebted The Sound Of Trees Falling On People, Sydney trio Seekae have established themselves as one of Australia’s most reliable electronic outfits, releasing long-gestating, yet steadily impactful albums, most recently the stunning The Worry. Though the introduction of multi-instrumentalist Alex Cameron’s singing voice might ostensibly seem like a drastic leap, the move acts as an instinctual progression of the Seekae sound. Speaking after just returning home from a European and US run of dates, George Nicholas let’s us in on the Seekae modus operandi.

It’s been a number of years between +Dome and new album The Worry. They’re two different sounding albums, is that a reflection of the writing and recording processes?

It was entirely different. One of the main differences is that while we were making it, we were all scattered around different parts of the world. The three of us were rarely together. We did get together, maybe two or three times, in the studio to exchange ideas. For the most part it was writing individually and putting the files in the Dropbox, and having someone else work on them. This process of refinement, I guess, that comes out in the way the album sounds, this cross-pollination of style and influences and production techniques.

Is there a differing approach between song composition and its tonal qualities, or is it there one process?

It’s not like there’s a template we start from with songs. We don’t decide on a palette of tones from the start and build everything from there.

That would be a really good idea, maybe we will do something like that eventually, but now I don’t think we’re organised enough, or that we have the patience to work with the same sounds. That’s probably why it could be perceived as being diverse in sound. We’re always experimenting with ideas we try and mould into a track. It usually starts with a loop that’s developed into a track.

In that sense, how do you know when a track is done? Is that a difficult call to make?

The night before deadline pretty much. It’s not done until it’s stripped from our hands. That’s the difficult thing with making music in this day and age. When you’re making records, you’re the composer, the performer and the sound engineer for the most part. There are always things you could go back to – change that bassline, or change that sound. I personally have a lot of trouble with knowing when it’s done. I think that’s why these freakin’ records take so freakin’ long.

The three of you are based around the world respectively, but you have toured fairly regularly, if not extensively, between +Dome and The Worry. Do those live appearances shape the creation of new music?

It doesn’t have a huge influence. That performance aspect doesn’t really have a direct impact on the music that we make. It’s rare that we get together and ‘jam’, and when we do get together and tour, it’s more about hanging out, getting drunk and talking about movies and stuff, rather than doing what we probably should be doing – working. That being said, whenever we do get to tour, we will take a couple of days to lock ourselves in a room and force ourselves to make some music, finalise some songs. That can be a really difficult process. You get halfway

through a song and there’s a disagreement with the direction that you want it to go in. That can be difficult to resolve over email sometimes, so that’s a good time to get together and nut the ideas out in the studio.

Obviously the introduction of vocals was a big leap. Did you approach that element with caution?

When we first decided to make the album, the suggestion of vocals was there, but we never said “Oh, let’s make a vocal-based album”, just maybe a couple of vocal-based tracks. It just happened that there were vocals on the album.

We didn’t change our writing style to allow us to put vocals on there. It just happened that we listened to music that was a lot more minimal and sparse, and that meant that there was room for vocals in there. There were so many different factors that led us to using vocals.

In your recent shows there has been a sense of onstage symmetry and shrouding of visuals, which I see as a sort of rejection of the notion of Alex [Cameron] being a front man.

I guess we’re sort of breaking that rule. How it came about, we were planning this record, then Alex showed us this vocal track bashfully, and we said “Well, that’s actually pretty good, since when could you actually sing? Where did that come from?” Then we started writing these tracks with more space in them, and it happened organically.

BY LACHLAN KANONIUK THE WORRY IS OUT NOW THROUGH FUTURE CLASSIC. SEEKAE WILL PERFORM AS PART OF ST. JEROMES LANEWAY FESTIVAL IN 2015.

FOR MORE INFO VISIT WWW.LANEWAYFESTIVAL.COM.AU

RATKING GNAWING AT THE THRONE New York hip-hop has a fiercely guarded history. From the genre’s inception in the early 1970s, to the arrival of Grandmaster Flash and the Furious Five in the late-‘70s, the breakthrough success of Run-D.M.C. in the ’80s and the ‘90s heyday for artists such as A Tribe Called Quest, De La Soul, Notorious B.I.G. and Nas, it’s fair to say New York’s produced a large percentage of hip-hop’s most legendary, world-changing artists.

While the likes of Jay Z remain in the public eye, in recent years there haven’t been many pages added to New York hip-hop history. That’s not to say there haven’t been any quality releases – at present, you’ve got youngsters like Joey Bada$$ producing welcome throwbacks to the ‘90s glory days, while Azealia Banks is a very exciting prospect – but nothing’s initiated a brand new phase for New York hip-hop.

Earlier this year, Manhattan crew Ratking released their debut record So It Goes. The trio – featuring MCs Wiki and Hak and producer Sporting Life – are indebted the city they hail from. So It Goes is a frequently frantic release, which echoes the pace and industrial clamour of the group’s hometown. Prior to recording the album, Sporting Life had a pretty clear idea of what he wanted to achieve.

“I had an idea in my head of what, in my opinion, a complete album would sound like and how varied it would need to be,” he says. “You start there, but then things develop over time. Some of your ideas works really well and some of them don’t work at all so then that changes something.

Something can influence something and that all leads to making what it ended up sounding like. I try to plan 100 percent, but it ends up being like 70 percent, and then 30 percent of it happens during the process.”

It might be too early to proclaim So It Goes a

new frontier for New York hip-hop, but Ratking have at the very least created something unique.

The history of their hometown is formidable, but Sporting Life says they weren’t afraid to look beyond New York for influence. “[I like doing] my own ground work of what the influences are going to be, track-by-track, and how I’m building it out, just by listening to so many classic albums like albums Dre produced and stuff like that.

“A song like ‘Remove Ya’ is sampled from Sanchez and it’s also a sample that [The Diplomats] use on ‘Dipset Anthem’. But the direction of the track was more influenced by producers like Wiley and early Grime.”

What’s more, the trio’s influences aren’t limited to the terrain of hip-hop either. So It Goes harnesses punk rock energy, which is no mere coincidence.

“We definitely listen to Bad Brains and skateboarding tapes,” Sporting Life says. “The fact that we play a lot gives it more of the punk element to it. Then we try to double back and add that into the record.”

On top of this animated spirit, Sporting Life points out how, in terms of the technology being utilised, So It Goes undeniably differs from New York’s most prized hip-hop releases.

PG. 28 / MIXDOWN NO. 248 / DECEMBER 2014

“You don’t have to try to do something new, because you’re using new programs you’re using new drum machines,” he says. “It’s being recorded with this technology, so in a way it’s going to be new anyway. You don’t necessarily have to stress that, you just have to set up a system and then put things through that system and see if they come out listenable. If it’s listenable people will consider it new, if it’s not they’ll be like ‘that’s just some noise.’”

Sporting Life produced the entire record, but Wiki and Hak weren’t denied their say on the production side of things. Similarly, Sporting Life, weighed in on the merits of what was coming from his co-pilots. Ratking are a crew after all, and it’s their vision leading the way, rather than their egos.

“To a certain degree it’s left up to the individual, but at the end of the day we all have to agree with it,” Sporting Life says. “If there’s a part that sounds really corny, we’re all going to say something about it, so there might be a little bit

of back and forth about it. Over time you get more and more comfortable with maybe not having all of your ideas go in.

“That’s the only way you can improve,” he adds.

“None of these albums that are considered great were [made] where one person did it all.

You get to the point where you’re comfortable letting other people give you ideas or pointers on stuff. That’s another level of creativity – more successful or more cohesive creativity.”

Ratking might have fairly lofty ambitions, but condescending bravado isn’t their stock in trade.

So it Goes is proof of the ultimate dividends this attitude supplies.

BY AUGUSTUS WELBY RATKING PLAY ST. JEROMES LANEWAY FESTIVAL 2015. FOR MORE INFORMATION VISIT WWW.LANEWAYFESTIVAL.COM.AU

TOUR DATES JANUARY 29 - THE BASEMENT, SYDNEY NSW FEBRUARY 5 - DING DONG LOUNGE, MELBOURNE VIC

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BENJAMAN BOOKER THRILLING ALL OVER

There are plenty of great musicians whose earliest work isn’t exactly a slick statement of technical accomplishment. Look at Talking Heads and The Velvet Underground; both bands are responsible for major refurbishments in the field of Western popular music, paving the way for generations of unique artists to come. Their earliest releases – The Velvet Underground & Nico and Talking Heads’ 77 – feature fairly thin production, and signs the musicians were really just giving things a go, but that hasn’t prevented the records from being some of the most popular and cherished entries in the popular music canon.

Benjamin Booker’s music has some strong roots. He’s based in New Orleans, a city with a tremendous music history stretching from early jazz through to rock’n’roll, funk and hip-hop. His voice recalls the hardened defiance of the early bluesmen. Similarly, his guitar work re-states classic blues riffs and soul-indebted chord changes with more than a touch of rock’n’roll firepower.

Perhaps more significantly, Booker’s debut selftitled album (released this August) is catapulted by a bounty of energy and curiosity – undeniable facets of youth. As a result, at first glance Benjamin Booker could be seen as a collection of fairly rudimentary tunes, but a closer looks reveals Booker’s unkempt rock’n’roll to be thrilling all over.

back and fix things one note at a time. Stuff like that would’ve just driven me crazy. But recording analogue and just having to play the songs [and then] that’s it, it took a lot of the pressure off.”

Booker is still fairly new to this music caper. Not long after his earliest public performances he got swept into a position of focus – earning a deal with ATO Records and promptly entering the studio to record Benjamin Booker.

“I played my first show in May 2012, I think,” he says. “Then I really didn’t start playing [lots of] live shows until last summer. It was very new. I felt pretty comfortable going in [to the studio], but now when I look back on it, I think we’ve improved so much more since then.”

To record the album, Booker plunged in headfirst, sparing any pretension in favour of honest excitement. “There’s a tonne of first takes on the record and I’m fine with that,” he says.

“The majority of all the songs were recorded live in the studio. I had six days to record and two days to mix it.

A lot of this improvement stems from the fact that – backed by drummer Max Norton and bass player Alex Spoto – Booker’s spent the majority of 2014 on tour. Touring alongside the likes of Jack White and Courtney Barnett, it’s been a massive learning curve for the young New Orleans native.

“I recorded it analogue for that reason,” he continues, “because you can’t really mess around as much as when you record digital. I had been in the studio before and recorded digitally and it’s kind of overwhelming – just the possibilities.

Like, every word, you miss one note, you can go

“We’ve basically been on the road since February playing shows,” he says, “so it feels like a tight show. We know how it goes down – what everybody’s doing. I’ve definitely gotten more comfortable doing the whole performing thing and hopefully better at playing guitar.

“Every song is a little bit different [live] than it was when it was recorded,” he adds. “It just comes with touring and being on the road every day – you get more experience and you get better at what you do. I think the show overall is way better than it was at the beginning of the year.

I wasn’t a natural performer; it was really tough at the beginning to get up on stage and play in front of people. It’s definitely gotten easier. I enjoy it more now than I used to.”

With any artist, as their abilities develop and creative outlook evolves, attempting to re-apply the naivety effective in their career’s nascent period would be a complete sham – artificial scrappiness doesn’t come over so well. When it comes time for Booker’s sophomore release, he’ll inevitably be influenced by the truckload of experience he’s gathered this year, but he’s not looking to overhaul his approach.

“Hopefully the next record I’ll reach farther with the singing and farther with the guitar playing,” he says. “The record probably won’t be similar at all, but the process, I think, will be similar. I don’t think I’ll ever spend more than a couple of weeks

in a studio and it will probably be analogue and probably mostly recorded live again. That works for me, so I think I’ll try it again next time.”

Booker’s whirlwind 12 months continues into the new year, when he’ll head our way for the Laneway Festival tour. This is but one in an everexpanding list of incidents from the last year that make him somewhat incredulous.

“Everything that’s happened this year is like, way more than I expected to happen,” he says.

“I would’ve been happy just playing my record out. If nobody really bought it I would still have my own record on vinyl. That would’ve been awesome for me.”

BY AUGUSTUS WELBY BENJAMIN BOOKER PLAYS ST. JEROMES LANEWAY FESTIVAL 2015.

FOR MORE INFORMATION VISIT WWW.LANEWAYFESTIVAL.COM.AU

TOUR DATES FEBUARY 2 - NEWTON SOCIAL CLUB, SYDNEY NSW FEBUARY 5 - NORTHCOTE SOCIAL CLUB, MELBOURNE VIC

ANGEL OLSEN LIGHTING THE MATCH

Without question, ‘I’ is the most-used word on Angel Olsen’s third LP Burn Your Fire For No Witness. The North Carolina-based songwriter’s 2014 release looks deep within to explore romantic longing and assess human vulnerability. Throughout, a defiant Olsen refuses to let these themes overwhelm, instead supplying the listener with affecting solace.

Interestingly, the recording of Burn Your Fire For No Witness saw Olsen open up to outsiders like never before. It’s the first record she’s made with an established backing band in tow. On top of this, studio wizard John Congleton – who’s overseen records from Swans, St. Vincent, Cloud Nothings and Xiu Xiu this year alone – handled production duties.

Olsen’s previous release, 2012’s Half Way Home, also features backing instrumentation, but it’s a largely peripheral feature. Burn, on the other hand, contains tracks such as ‘Forgiven/ Forgotten’ and ‘Stars’, where electric guitars are used to emphasise the singer’s piercing emotional insights. The input of her band members – guitarist Stewart Bronaugh and drummer Josh Jaeger from Chicago’s Lionlimb – is integral, but Olsen was still calling the shots.

“As far as writing and recording, I write everything,” she says. “I write the structure and everything. I’m definitely a control freak… but I’ll get stuck on some stuff and will be like ‘I don’t know how we should learn to play this. Something isn’t happening here.’ I’m open to suggestions.”

Olsen’s song writing voice is truly her own, which positions Burn as one of the year’s finest releases.

Despite this singularity, her and the band form an almost intrinsic union. It’s thus surprising to learn that, prior to making the record, Olsen was only loosely acquainted with the musicians.

“I had met Stewart on the street,” she says. “It was in passing, through a friend, and I thought

‘that kid’s kind of dirty.’ He was in some weird mood and seemed like he hadn’t slept. I didn’t really know him very well until I started working with him and then I was like ‘this guy’s a genius.’

“Joshua… we worked at the same café in Chicago. We weren’t friends even then, but when I stopped working there he contacted me and was like ‘I like your record a lot, do you need anyone to play drums for you? I’m in a band with this guy Stewart, but I’m sure he’d be into playing with you too.’ In a couple of weeks I met up with him and we started working on stuff. It was like he immediately knew what I was trying to get at, with my sound. I feel really lucky with the way that worked out.”

Early next year, Olsen and band – which has now grown to include bass player Emily Elhaj – head our way for the Laneway festival tour. Since releasing the record in February, the quartet’s spent the majority of their time travelling back and forth through the US and Europe. Before launching her solo career, Olsen was a touring vocalist in Bonnie “Prince” Billy’s band, so she’s no stranger to life on the road. However, this year’s touring run has been more intense than anything she’s experienced in the past.

“When it all slows down it’s going to be like, ‘I have to do something with my time,’ because I’ve just been busy,” she says. “I think the most shocking thing is going from working on the road and getting home and just being totally open, like, ‘I’m not planning for a big show tonight, what am I going to do?’”

PG. 30 / MIXDOWN NO. 248 / DECEMBER 2014

Much of Olsen’s songwriting comes from a place of introspection. Tracks such as album opener ‘Unfuck the World’ take an incisive look at the inevitability of social conflict. With this in mind, it’s fair to presume that spending the year living in tight quarters with her band mates has been a challenging experience. She admits it took some time to adapt.

“It’s a pretty intense thing to do with your time.

You’re basically living in a van and your tour people are your roommates. But to be able to make something really cool at the end of the day together is so satisfying. I feel like I’m with a very good group of people who are all super intelligent and aware and love music and love playing it just as much as I do.”

While Olsen hangs onto ultimate authority, feeling comfortable in the company of her sidekicks, it encourages her to let the four-piece dynamic influence the way the songs rollout onstage.

“Sometimes I think it’s nice to have a different person’s perspective,” she says. “You don’t necessarily want to do the same as the album.

I like for things to be on the fly. It’s nice when

certain songs sound solid and they don’t change too much, but I think it’s interesting when you can hear a different version of something.

“It’s not like every time I’m performing, I’m re-living the same exact event that created the writing,” she adds. “It doesn’t work the same way you build a house. There are certain structures that hold a house together and when you try to break down that house you can see all those structures. But when you write a song and you try to go through the song, there are things there that you didn’t know were there, or there are things there that you definitely put in there.

Then over time, over years, it changes.”

BY AUGUSTUS WELBY

ANGEL OLSEN PLAYS ST. JEROMES LANEWAY FESTIVAL 2015. FOR MORE INFORMATION VISIT WWW.LANEWAYFESTIVAL.COM.AU

TOUR DATES FEBUARY 3 - OXFORD ART FACTORY, SYDNEY NSW FEBUARY 4 - HOWLER, MELBOURNE VIC

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UNLEASH YOUR INNER ROCK GOD POWER CHORDS

GUITAR

The power chord is the most glorious, and the most exhausted of guitar building blocks. Learn that classic power chord shape, and you can play a shockingly wide variety of songs from simple pop to complex technical progressive death metal. But we guitarists don’t like to rest on our laurels, even if they’re satisfyingly chunky laurels that give us the keys to the musical universe. So here are a few ways to break up your riffage so you’re not just playing power chords. The three examples here are all still related to power chords, and will give you a similar impact, but with enough spice and colour to add a bit of movement and drama to your songwriting without wimping it up with a bunch of cowboy chords.

Figure 1 is a simple riff built using power chords exclusively. Depending on how you play it, it could be straight rock, thrash metal, maybe even pop-punk… all sorts of stuff. You’ll notice that every chord is played on the same two strings.

There’s a reason for that which we’ll see in a sec.

octave. This has more of a blues-rock vibe, which you can emphasise by applying vibrato to some of the double-stops (which is especially easy if you use separate fingers to fret each string, rather than holding them both down with one finger).

Figure 2 is the same basic riff but played using octaves. My preferred way to play octaves is to fret the lower-pitched note with my index finger, the higher note with my ring finger, and mute the string in between with the underside of my index finger, while muting the other (higher-pitched) strings with the underside of the ring finger.

This keeps things nice and quiet while sliding the shape around the neck. What I like about octaves is that they can sound quite anthemic in some riffs while sounding positively evil and doom-laden in others. You can strike both notes quickly for a thick, tonally ambiguous sound, or you can slightly stagger the strum to create a more smeared attack. The quick attack method sounds totally metal while the staggered-strum approach has more of an atmospheric rock vibe.

Finally, in Figure 4, what we have is a sort of hybrid mutant approach to combining the first and third methods. What we’re doing here is playing regular power chords like in Figure 1, but doubling the 5th an octave below. This way almost tricks the ear into thinking that it’s hearing a downtuned or 7-string guitar, and it’s a great way to thicken up a riff, especially in a singleguitar band. The palm-muted open E chugs help to orient the ear and reinforce E as the tonal centre even though the first chord you hear has a B as its lowest note.

BY PETER HODGSON

Figure 3 uses double stops - two notes played on adjacent frets - and in this case all we’re really doing is inverting a power chord so that the root note is on top, reinforced by the fifth in a lower

WHAT’S THAT SOUND

ARP SOLINA STRINGS ENSEMBLE

KEYS

I was engaged in a discussion recently about how the development of synth engines still seemed to be lacking in the brass and woodwind department.

It seems that only multi-sample engines can recreate a realistic brass sound and it never really comes about with actual synthesis. We then started talking about how strings sounds had developed over the years and how they originally fell into the same category as a brass and woodwind sound.

With the advances in synthesizer developments in the last forty years, we have seen very real emulations of original instrument sounds, and ARP a company at the forefront of this development reminds us of that, it is always useful to remember the early beginnings of modern synthesis.

ARP AND AT ‘EM Alan Richard Pearlman brought us a range of electronic instruments that really became part of musical history. It was the ARP Odyssey that really became part of music folklore, so much so that we are not far off from seeing the release of a faithful recreation of said synthesizer become available for sale once again. But, there was a range of instruments created by ARP in the 1970s, and although most of them were synths like the Odyssey and the 2600, probably the two most popular units designed by ARP, there was a largely unheralded keyboard that stood out on its own and presented a new range of electronic sounds to the world. That instrument was the Solina Strings Ensemble.

Released in 1974, it was early days for synthesizers that were attempting to create faithful reproductions of actual instruments and what was often thought to be a good representation now seems to sound quite the opposite in today’s world of synthesizer development. But, given the era and the technology available at the time, this was a great creative tool that had a range of usable sounds. Although it was not strictly an ARP design, having been purchased by ARP from another company for release in the United States and rebranded as the Solina. It was then replaced a year later with a far more advanced design from ARP, the Solina definitely paving the

way for a new world of string synthesis that has now become the cornerstone of most electronic music produced.

BRING THEM TOGETHER The Solina Ensemble held a lot of power in its name; in that the sounds really didn’t sound too crash hot individually, but combined they created a great ensemble sound. This has to be one of the easiest keyboards to operate from ARP. There is no need to worry about signal source, filters or LFOs. All you really needed to do was engage or disengage the sounds you wanted in the ensemble, and bring in the chorus effect to fill it out for a more realistic tone.

The Chorus effect was created rather simply by passing the selected sounds through three delay circuits that are all modulated to give the impression of multiple instruments. Most of the available sounds ran the extent of the four octave keyboards, however the Cello and Contra-Bass sounds only operated on the lower registers, making them capable of being used almost like a split keyboard design for the ensemble. A pair of sliders operated as a very basic amplification envelope, labelled as Crescendo and Sustain Length, although what these really changed are the more commonly titled Attack and Decay segments of an ADSR envelope. Two additional faders supplied master volume and tuning

PG. 32 / MIXDOWN NO. 248 / DECEMBER 2014

controls, but that was about it. The user really just needed to select the sounds they wanted to be part of the ensemble and take it from there.

Nowadays, the ARP Solina is probably going to find its home in a number of synth and keyboard collections probably to never really voice itself ever again, but in its day, this offered a very real solution for string sounds within a single box. It found its way into the recordings of many great bands in the 1980s and was immortalised in that era as a somewhat simple, but altogether ground-breaking step in sound development.

These days, it is all too easy to pull up a dozen high quality string sounds in just about any

synthesizer currently in production. If you go for a software variation, you can easily locate pre-recorded strings that boast all the warmth, tone and character of the real instrument, with the added freedom of sequencing. As a string machine in the mid-1970s, the ARP Solina Strings Ensemble stood up to be counted as a very real contender. If you couldn’t quite tell what that sound was, you were probably listening too hard, it just required the audience to take it in as a whole, as an ensemble, and marvel in the overall tone.

BY ROB GEE

PG. 33 / MIXDOWN NO. 248 / DECEMBER 2014

(D)IGITAL (J)OCKEY A BIG END TO THE YEAR

DJ

This time of the year is always pretty full on the DJ calendar. With festival season at our doorsteps and the Christmas and New Year celebrations fast approaching, plenty is going on for those who get out to venues regularly.

Though, while performances might pick up, on the product front, this is often a quiet time of the year, sitting a few months out from the big international trade shows, new releases aren’t always that prominent. That said, this year has been a little different with a couple of big releases turning up in the last couple of months of the year, both of which are going to be hot products for Christmas if supply can meet demand.

DIGITAL PIONEERS The team at Pioneer DJ have unveiled the latest generation in the ever-growing world of the CDJ. The XDJ-1000 does away with the CD, yet still has that familiar CDJ layout. What’s that? No CD playability? Correct, the XDJ-1000 is a USB only device that is focused on delivering what the modern DJ requires in a performance tool. It is still housed in the same desktop style casing that a CDJ comes in, but the physical CD is removed and audio is sourced directly from USB. This is so much more than just a player. It’s a powerful DJ tool with quantized beat jump, loop moves, beat sync and slip mode made possible with the familiar shuttle/jog wheel that we have come to know so well with the CD playing model. As the jog wheel still features in the centre of the top panel, it will allow most CDJ users to get around the workings of this unit quite easily, but there is a new twist to the control aspect with the XDJ1000, and that is the colour LCD touch screen.

Yes, you read that correctly, you get a full colour touch screen on this baby that allows you to search through all your tracks on the USB in a flash and make the most of your library at hand.

This allows you to bring up a QWERTY keyboard for amazingly fast library browsing. You can search for individual tracks by title, genre or instrument with this feature and do it fast without having to rely on a jog wheel and a few buttons

to get you through the menu systems. This is going to fit well alongside existing CDJ setups to add another dimension to the performance, or be the basis of a completely CD free setup from the word, “go!”

HI-TECH NATIVES The other big launch at the tail-end of this year as far as DJ products go is the latest and greatest flagship controller and software package from Native Instruments. With the Traktor system having grown over recent years to a healthy range that allows users to add a selection of components to meet their individual needs, it was only a matter of time before NI gave us a beast that took a little bit of every one of these controllers and served it up in one monster mixing device. So, there is no doubt that the first several shipments to arrive in Australia in the following weeks and months will get eaten up very quickly. This is going to be quite possibly the most in demand product for the 2014-2015 Summer period. So, what is all the fuss about?

If you haven’t heard about the Traktor Kontrol S8 yet, you must have been couped up in your studio for the last few months. You can barely get on the internet without coming across an advert for it. Essentially, it starts where the Kontrol S4 left off and goes even further, with a focus on remixing live. Consider all the smaller

NI controllers that came out in recent years.

There was the X1, the F1 and the Z1. All these were great add-ons to any existing system. Well, now elements from each of these have been integrated into the S8 for the most featurepacked unit from NI to date. If you thought the S4 was a worthwhile workspace, wait until you see it get dwarfed by the S8.

The jog wheels are the only noticeable feature that have been removed, but the addition

of large LCD screens means you now don’t need to refer to the computer to get most of your information about the tracks, sounds and samples you are working with. This is going to go head to head with the XDJ-1000 as they both enter realm of live DJ control and both create greater possibilities for today’s DJ.

BY ROB GEE

HOME STUDIO HINTS RECORDING UPRIGHT BASS

I really enjoy working with a range of musicians and instruments when recording. The whole point of having a home studio is to be able to get the most from your own production, and to be able to explore new avenues with the freedom of your own space. So, I always welcome the opportunity to record with new techniques and instruments. Until recently, I hadn’t recorded an upright bass for a long time, it meant going back to the drawing board in order to find a great way to record it within the new space.

FROM STAGE TO STUDIO I am no stranger to working with upright basses in a live environment. They present a range of challenges that you don’t get with other bass guitars, and require a little respect in order to get them to sound just the way you want them to sound. When working live, you are usually limited to just a bridge mounted pickup system for capturing the sound. They’re generally rubbish pickups, and that means you need to do a lot of work on the desk to get them sounding right. Plenty of string click is usually sought after as well as a solid lower end, but you have to find that happy medium that doesn’t send the PA screaming with nasty feedback.

So, when you get the beast into the home studio, I think the best thing you can do is to forget the pickup is there, and treat it purely as an acoustic instrument. That might seem a little harsh, but I am always one for going beyond what’s necessary in the studio as far as sound source capture. So in the interest of getting the right sound onto the recording, I generally run a DI for the pickup and get it into a spare channel in the DAW, just in case I need to blend some in later on.

MICROPHONE CHOICE I’ve used all sorts of microphones on upright basses, and have found that there is no one microphone that gets it just right. Every instrument is wildly different; not only in tone, but also in how they project the sound. So, a little experimentation is required.

A pencil style condenser microphone is the first

choice; point at the fingerboard to capture that all important string slap. It needs to be a fairly directional microphone so you can attempt to separate the string slap on a single channel to be compressed and EQ’ed by itself. Then, we come to the body of the instrument. I have often found that a kick drum microphone placed fairly close to the F-holes gives a good result. Being a dynamic microphone that is used for high SPLs, it doesn’t pick up much more than just what comes off the body of the bass, and that is what you want to capture with this microphone. Then, a large diaphragm condenser microphone about a foot back from the bridge is a good way to round out the collection of microphones for this one instrument.

I would often encourage using more microphones, as it never hurts to get more down onto tape. You can always discard any unwanted signals in the mix if they are not needed. But, at the same time, one needs to consider the space you are working within and also consider how the bass player works when their movement is further restricted with each additional microphone stand you place around them.

This is something that really needs to be taken into consideration when working with musicians who are used to performing on a stage and don’t necessarily stand still when playing. Obviously, they don’t have an audience to impress within the studio, so they need not jump all over the place as part of the performance, but more often than not, musicians move with the music and need a certain amount of freedom in order to play with the feeling and emotion you want to

PG. 34 / MIXDOWN NO. 248 / DECEMBER 2014

STUDIO capture on the recording. So, be weary of this and try not to restrict your bass player from moving too much with the instrument.

MIXING IT DOWN When it comes to the mixdown, don’t be too heavy handed with the compression early on. This is a very dynamic instrument and you want to allow its natural variations to prevail. You can slam the fingerboard microphone to ensure a consistent click sound, but allow the microphones on the body to breathe a little, here you will find that you get a much more lively result. You shouldn’t really need to do too much in the way of EQ until you have to make it find its place in the overall mix. At this stage, there may be a little in the lower midrange that needs to be peeled away so it doesn’t sound to honky and wash out the mix altogether, but otherwise, it should be pretty easy to work with if you get your microphones placed right at the beginning.

BY ROB GEE

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PG. 35 / MIXDOWN NO. 248 / DECEMBER 2014

ON THE DOWNLOW SCALE LENGTH AND FRETBOARD RADIUS

BASS

There are all sorts of things to consider when buying a bass. Things such as what it looks like, how cool the paint job is and how many lights it has. Oh and then of course there’s the stuff like sound and playability. Sound is easy to figure out: you plug a bass in and it either sounds great or it doesn’t.

Maybe you change the pickups and electronics, maybe not. But when it comes to playability, there’s a bit of mystery and confusion. What exactly makes a bass play well? Sure, a bass will play more easily if the strings are lower, but that’s not the whole story. There’s also stuff like fret size, neck shape, fretboard radius and scale length. Let’s look at fretboard radius and scale length for starters.

The radius of a fretboard refers to how flat or how curvy it is, and the bigger the number (usually expressed in inches although some manufacturers use millimetres), the flatter the fretboard is. Imagine a big long cylinder. If its radius - the distance between the centre point and the edge of the circle - is 7.25”, and you cut a fretboard-sized slice of the cylinder lengthways, it’ll have a rounder curve than a fretboard-sized slice of a cylinder with a 16” radius.

So why would you want one and not the other?

Well, 7.25” is associated with vintage designs, and there’s something reassuringly ‘old-school’ about this type of radius, especially if you play a lot of repetitive walking bassline figures or if your playing incorporates chords (since the curve of the fretboard is a little easier on the natural curve of your fingers). A flatter radius is associated with more modern designs and playability standards. It will allow you to have a more consistent string height from one string to the next, and is great for playing speedy passages or complicated harmonic runs. Some instruments have compound radius fingerboards which start at a curvier radius at the headstock end, gradually flattening out as you travel up to the higher notes. It’s also easier to bend strings

on flatter radii, as the string doesn’t ‘fret out’ that is, run into a higher fret and sort of buzz off and fade away.

As for scale length, this refers to the distance between the nut and the bridge. A bass with a longer scale length has a firmer, snappier playing feel than a bass with a shorter scale length. And the tone is also different: short-scale basses tend to sound deeper and more ‘rubbery’, whereas those with longer scale lengths tend to have more punch because the string is under more tension. You can achieve higher tension on a short scale bass by using heavier-gauge strings but the effect isn’t quite the same.

The most common scale length is 34” (again, most companies measure this in inches), but some blow out to further than that - and 5-strings are often 35” scale to give some extra punch to the low B string. The 30” to 33” range is considered medium scale, and 30” and under is short scale. Short scale basses like the Fender Mustang tend to be great for indie/ alternative styles as well as being easier to play for beginners.

Some builders like Ormsby and Dingwall make multi-scale instruments with fanned fretboards and slanted nuts and bridges which give you

a different scale length for every string, with a longer scale for the lowest string and a shorter one for the highest.

So which is for you? If you play modern metal you’re probably going to be happiest with a long-scale bass with a flat fretboard. If you’re into vintage tones, a standard scale bass with a curvy fretboard is probably going to work best for you. If you like deep, rubbery, bouncy tones, you could find that a short scale bass will

give you the perfect balance of playability and tone. Basically it all comes down to personal preference, but once you know how each of these factors influences the ultimate playability of an instrument, it becomes easier to sniff out more basses in the style you like later on.

BY PETER HODGSON

BANGIN’ THE TUBS TOP 5 ESSENTIAL DRUM TIPS

Over the years I’ve always enjoyed seeing those articles with a drummer’s ‘top tips’ for being the best player you can. So, I figured I’d do something similar.

I’ve attempted to collate some points that I feel are essential to being a good drummer and a good musician. These are of course subjective, and you may have your own tips. But let me share mine with you and why I feel they’ve benefitted my playing over time.

GHOST NOTES/ACCENTS/CHOPS I was always afraid of ghost notes, (no pun intended), but this was because I just wasn’t doing them right. Some dedicated practice later and my world was changed. No matter what style I play, I’m always using ghost notes. They give your sound some finesse and a crucial dynamic range that makes your playing musical. Likewise, the ghost note’s best friend is accents. They create the contrast from the softer notes and become the stand out voice that’s really heard in your phrasing. Think about this – when we talk we don’t just use the same pitch and rhythm or we’d sound like robots. Instead we use variation in our voice to inflict emotion and character. Ghost notes and accents do exactly the same thing in our drumming. Finally, it’s important to be able to play the fast chop fills but it’s also important to know when to use them.

SOUND Know your instrument and how to achieve a desired sound. Study studio techniques that require dramatic tuning, dampening and approaches to playing. Don’t be afraid to get stuck into tuning and experimenting with your drums to find out what they can do. Sometimes the deep, low and thuddy snare drum covered in gaffa tape has its place! Another tip here is about playing soft. Yes, drums are loud but does the music always call for this? Don’t reach for the brushes straight away when you have to play quieter. Instead, practice playing down with the sticks and be groovy why you’re doing it.

INDEPENDENCE Every style of music requires a certain level of independence/coordination and it’s an essential for any drummer. It’s amazing how much control you can develop by practicing independence – Latin/Jazz exercises, fills, sight-reading over a foot pattern etc. The skills benefit any style you play and even enable you to learn something more quickly. It can also be fun too.

STYLES/VERSATILITY Every teacher I’ve ever had told me to be versatile and have the ability to adapt. In the gigging world, this ties in directly with being able to play different styles of music. Take the humble wedding gig – they can pay the bills, but you’ll need to be able to play Rock, Jazz, Latin, Reggae, Ballads etc. When you think about it, there’s a bit to know there! If you’re versatile, you’ll be more popular. So, immerse yourself and open up your ears. That way you can have your cake and eat it too.

ATTITUDE This is a really important one that follows on directly from styles and versatility. In order to be versatile, you have to have the right attitude to allow yourself to be versatile. It’s so easy to ditch a certain style because you don’t ‘like’ it. Instead, opening up to the idea that you may be able to learn something from that style which will make you a well-rounded player. Face it – As long as I’m on the kit, I’m happy.

BY ADRIAN VIOLI

PG. 36 / mixdowN NO. 248 / DECEMBER 2014

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PG. 37 / MIXDOWN NO. 248 / DECEMBER 2014

WHAT’S MY RANGE AGAIN? SURVIVING THE SILLY SEASON AND WEATHER CHANGES

VOCALS

Yes, it’s that time of year again! The Christmas season, a time of year that can be especially hard for singers. We are dealing with Christmas parties, late nights, lack of sleep, busy schedules, more alcohol, more food, more social engagements, more travelling, more people to interact with and ultimately more stress. On top of all this, there’s also the usual seasonal changes and weather elements to contend with. My hayfever has been wreaking havoc the last few weeks! So it is unsurprising that it is so much harder to sing!

In this month’s article I’m going to give you a few handy tips that will help you survive the silly season and the change in weather.

SURVIVAL TIPS FOR THE HOLIDAY SEASON 1. Sleep and rest. You’re probably saying, “Yeah right! This time of year…highly unlikely!” But try to get as much sleep and rest as your body requires. Some people need more sleep than others. This is especially important for singers as this is the only time that your voice is completely at rest and not working. Because you will be socialising so much more during this time of year, it is likely that from the moment you wake up you will be speaking and conversing. This means you will be utilising the same vocal cords you do as when you sing. Sleep is imperative for singers for vocal rest, recovery and to recharge the vocal cords and also the body and mind.

2. Stay hydrated. Drink plenty of water during the day but especially if you’re drinking alcohol.

Drink alcohol in moderation and try to alternate a glass of water with every few alcoholic beverages that you have.

3. Eat well. It is this time of the year that eating badly can become the norm. Not enough time, crappy finger food, late night eating, skipping breakfast and junk food left sitting around the workplace, rehearsal studio or home can become all too familiar. The human body is a machine and you are only going to operate and function as well as what you put into it. If you put bad fuel into a car it will run badly and the same goes

with your body and voice. Try to eat the best you possibly can, and in moderation. Include as much fresh fruit and vegetables as possible. During this time, a good quality multi vitamin can greatly help you out, as well as Vitamin B if you need a pick me up - particularly after a big day or night!

4. Regular practice. Keeping your voice and chops up this time of year can be difficult, but try to keep to your regular vocal practice and singing regime. If you miss a day, try to do a little bit more the next day if possible. Practice makes perfect and is especially important if you are gigging around this time of the year.

5. Learn to say no! Learn to say NO to unnecessary commitments and engagements.

Say no to activities that you aren’t particularly interested in so you can free up some “me time” to practice, recharge and stress less.

TIPS FOR SURVIVING THE ELEMENTS Hayfever: If you have ever suffered from this you know that it can be especially bad at this time of the year, especially in Melbourne. I have been in Austria (Yes, the fields are alive with the sound of music) in the centre of a field of wildflowers in the middle of spring and not had a single hayfever symptom. But in Melbourne… Well that’s another story!

Natural Eastern medicines are great, but a couple of Telfast tablets really do the trick for me, plus they also keep me awake. Nasonex nasal spray - I cannot endorse highly enough. Not only does it clear the nasal passages but it is an amazing cure

for postnasal drip if you suffer from this, as I do.

Flushing your nose and sinus cavities with a saline solution to clear any mucus build up or pollen with a sinus rinse bottle is also highly effective.

You can purchase these from a chemist.

If it is a very windy day, try to avoid going outside or alternatively go to the seaside where the air is fresh and doesn’t contain a lot of pollen. Try not to rub your eyes or nose and stay hydrated.

Heating and air conditioning: Both of these can cause havoc to a singer and can have a very drying affect on your voice - making it especially difficult to sing. To function correctly, your vocal cords require lubrication to make them vibrate together evenly, smoothly and correctly. Air Conditioners are particularly notorious for having this drying effect as they suck all the moisture out of the air. Try to replace the natural moisture in the air by placing a moist towel in front of or on top of the unit (keeping safety in mind). You can also try using a steam humidifier. These are fantastic and give the same effect as being in the shower. Again, you can purchase one of these cheaply from your local chemist and as always be sure to drink plenty of water if you are in this sort of environment.

Pollution or bad air: Pollution, smog, bad air, second hand smoke, dust and pollen all cause

BLUETOOTH CONTROL

numerous irritations including asthma, hayfever, dermatitis and other allergic reactions. In this modern day and age we are dealing with so many more man made artificial pollutants. There are all sorts of chemicals and pollutants that can affect your body and voice. Work out what works for you, go natural and organic. Or simply just take a walk in the park or the beach and inhale some fresh air. I have travelled South East Asia extensively and a lot of people wear dust masks out in the street to avoid these sorts of reactions!

In summary: Finally, a good GP or chemist can also help you out with lots of different information to make your singing fun and easy throughout this time. I know that most of this isn’t conducive to the rock ‘n’ roll lifestyle that we think that singers need to lead. But realistically, you are only going to sound and sing as good as your voice and body feels. So get in touch with your body. If it feels good, do it. If it doesn’t, then change the way you do things or what you are doing until it does.

Enjoy your Christmas, and take these tips on board and your singing will benefit because of it.

By Peter Vox

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Giveaway!

INTRODUCTION Ho, Ho, Ho! It’s that time of the year again where we look forward to gathering around the ol’ pine tree and listening to a rendition of jingle bells from your favourite metal band. With Christmas right around the corner, it’s time to start writing up your wish lists, and checking them twice!

Whether you have been naughty or nice, the team here at Mixdown have got your lists covered with our huge Christmas special!

To help you make those tough decisions, we have reviewed an

extensive selection of this season’s most desirable products. From stocking stuffers for your band mates, to presents that even the big man himself will struggle to lug over the Pacific. We have compiled everything from accessories through to studio gear and a range of instruments to consider. So what are you waiting for? No matter what you (or the person you’re shopping for) plays, we have you covered.

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RECOMMENDED FOR: Kids whose hands are too tiny for a guitar but would love something to strum, as well as beginning ukulele players, or just those who’d like a cute ukulele to learn on and have around the house. Cool stocking stuffer!

SOUND AND TONE: This is a very light, sweet-sounding ukulele with strong midrange frequencies that almost ring out like a bell. There’s an almost vocal-like quality to single notes, and when you let a note ring out, the sustain is surprisingly long for such a little ukulele.

PLAYABILITY: The tiny neck may be a bit cramped for those used to guitar, but tiny hands or those just starting out will appreciate how neatly everything falls under the fingers. It’s not too neck-heavy (which can be a problem even for a super-light instrument like a ukulele - it doesn’t take much to throw ‘em off balance) and it’s easy to tune.

CONSTRUCTION: The thick full-gloss finish on Sengon wood makes this one feel a little bit ‘plasticy’, but the frets are well finished and the tuners seem to be of very high quality, so it’ll stay in tune for a long time.

OVERALL: A great first ukuele for those who want to see if they get along with the instrument, as well as a really fun ‘basher’ for kids to play around with.

RECOMMENDED FOR: Practicing, learning, getting a usable tone going for laying down a sudden song idea.

SOUND AND TONE: The four models in the range - AC30, Classic Rock, Metal and Bass - cover a wide range of sounds, surprisingly convincingly for such a simple unit. Very thoughtfully voiced effects too, and low noise. The mid-gain tones are especially nice, with convincing tube-like warmth for such a basic unit. the Metal version has an aggressive modern-metal crunch but is also capable of some nice hard-edged cleans as well.

USABILITY: These plug directly into your guitar’s output jack, and a redesign means these now fit your guitar easier than ever. The clever layout makes plenty of use out of a small number of controls.

CONSTRUCTION: Although they feel pretty much like hollow plastic, these little tone monsters actually seem quite hardy. The design minimises and wear and stress that might come about from headphone-yanks and stuff like that. It’s powered by two AAA batteries and weighs only 40grams.

OVERALL: A great option for those who need tone on the go, with maybe a smattering of effects - but it’s really more about the amp sounds than the effects, so don’t expect a whole bunch of editable parameters. It fits right in your pocket and it can really make some noise.

PG. 40 / MIXDOWN NO. 248 / DECEMBER 2014

MAHALO JAVA UKULELE

RRP: $69

PRODUCT TYPE: UKULELE DISTRIBUTOR: AUSTRALASIAN MUSIC SUPPLIES

GIBSON PURE INSTRUMENT CABLE 12”

RRP: $84

PRODUCT TYPE: INSTRUMENT CABLE DISTRIBUTOR: AUSTRALIAN MUSICAL IMPORTS (AMI)

RECOMMENDED FOR: Those looking for an affordable ukulele with nice tone, woods and great playability.

For everything from around-the-house strumming to a quick recording.

SOUND AND TONE: The tone of this Java J Series uke is percussive and punchy, while also being rich and complex. It doesn’t have terribly long sustain but it makes up for it in the complexity of the tone. Chords ring out with complex overtones and single notes have a vibrant punch which lets them take the lead.

PLAYABILITY: Nicely balanced, nice fretwork very comfortable neck, easy to tune.

CONSTRUCTION: A nicely balanced ukulele with well executed fretwork, a high standard of finishing, really nice tuners that hold their tuning very tightly and a well-cut nut and bridge. This is a surprisingly well-built ukulele for the price. It’s made with a Sonokelin (Indonesian Rosewood) fingerboard and bridge, Mahogany neck and exotic Nyato body and top for nice complex tones. It also includes geared machine heads, Aquila strings and a Mahalo carry bag.

RECOMMENDED FOR: Anyone who wants a high-quality cable that doesn’t make any noise (even when they unplug it) and with a touch of classiness about it.

SOUND AND TONE: Extremely low in noise with the silent plugs, both from handling and from interference. Gibson has engineered the cable to preserve as much of your signal intact as possible.

USABILITY: The very clever silent jack (on one end, the one with the white barrel) lets you plug and unplug without any ‘pop’ sound, which is great for changing guitars onstage. And the barrels themselves are big and tactile, making them easy to grip when it’s time for a guitar change.

OVERALL: It sounds great, it looks great, it’s made using carefully considered tone woods and it plays really well. This is one of the nicest affordable ukuleles out there right now and a great place to start if you plan to be a lifelong ukulele player.

CONSTRUCTION: Made with a stranded oxygen-free copper conductor and military-spec 24-carat gold over nickel 1/4” plugs, with pure copper tips. An additional semi-conductive PVC shield between the inner and shielding cables virtually eliminates noise.

OVERALL: A very classy-looking, clear-sounding cable that does more than just get your signal from your guitar to your amp: it keeps it clearer that you could imagine and testing out the 18ft (RRP $109) and 25ft (RRP $139) versions, the silent plug/unplug trick is an ear-saver and superbly designed.

LEWITT MTP240 DYNAMIC PERFORMANCE MICROPHONE PRODUCT TYPE: DYNAMIC MICROPHONE DISTRIBUTOR: NATIONAL AUDIO SYSTEMS

RRP: $99.00

ZOOM G1XON GUITAR MULTI-EFFECTS PROCESSOR

RRP: $119

PRODUCT TYPE: MULTI-EFFECTS PEDAL DISTRIBUTOR: DYNAMIC MUSIC

RECOMMENDED FOR: When you are looking for something different in a vocal microphone, and you don’t want to sound like you are using the same model as everyone else, this could be the microphone to consider.

SOUND AND VERSATILITY: The MTP240 is specially voiced to work with vocals in a live stage application. You don’t need to concern yourself with getting the EQ right when you use this microphone as it sounds pretty much spot on when you set everything flat. It has a cardioid directional pattern.

USABILITY: Designed to be used on loud stages, this microphone offers excellent side rejection and feedback suppression. You can run the gain up on the desk and not worry about the microphone taking off with nasty feedback straight away. Packaged with a microphone clip and soft pouch for ease of transport.

CONSTRUCTION: The unit itself is solidly constructed, weighing 335g, and is ready to take a beating in a live environment. I found the handle to be a little short for my hands though and the switch wasn’t as rigid as I would have liked.

OVERALL: For performers with small hands, this is a brilliant microphone, I just don’t know if it is going to be everyone’s cup of tea as far as ergonomics go. That is the feel, but the sound is another matter. When judging this in a blind test, it would have to rank highly every time.

RECOMMENDED FOR: Practice or home recording primarily, but it has plenty of stage-friendly features too.

SOUND AND TONE: The best sounds on the G1Xon are in the cleans and medium gains. There are some really nice grunge, alternative and classic rock sounds in here which are great for practice or recording, and have enough of a midrange punch to cut through in a live environment too. The acoustic guitar simulator is exceptional for a unit of this kind. The delays are nice, especially in stereo, as are the reverbs. The ultra high gain sounds aren’t quite up to the same standard, lacking a little depth, detail and dimension.

USABILITY: There are 100 guitar effects including a variety of distortions, compressors, modulations, delays, reverbs and amp models, plus an additional five effects controlled by an expression pedal to the right of the unit. There’s a built-in rhythm accompaniment section with up to 64 beats of cd quality audio to choose from, auxiliary jack, tuner and looper with up to 30 seconds of audio. There’s a lot to wade through so read the manual, but the learning curve isn’t too steep.

CONSTRUCTION: A relatively solid unit. There’s lot of plastic but it feels pretty roadworthy.

OVERALL: Not every sound is a runaway smash, but the ones that work really work, and it sounds great direct into a recording interface where its various presets will trigger all sorts of song writing ideas.

Awesome value for money.

PG. 41 / MIXDOWN NO. 248 / DECEMBER 2014

YAMAHA GL-1 GUITALELE

RRP: $129

DISTRIBUTOR: YAMAHA MUSIC AUSTRALIA PRODUCT TYPE: GUITAR/UKE HYBRID

M-AUDIO AXIOM AIR MINI 32

RRP: $169.99

PRODUCT TYPE: USB KEYBOARD CONTROLLER DISTRIBUTOR: PRO AUDIO GROUP AUSTRALIA

RECOMMENDED FOR: Modelled on a uke with sound and design, but in reality a 6 string intruder, the Guitalele is actually one awesome little cross-breed.

Perfect for youngsters with small hands or as a travel option for guitar players who want an instrument to take on the road everywhere they go. This will also have guitar players jamming with uke players in no time.

SOUND AND TONE: To be strict, this is not really a ukulele, but a uke-sized guitar. However, it does have a hybrid uke makeup to its sound making it super innovative. Being tuned like a guitar and with a lower note range, it is a little more complex in tone than many ukuleles, making it really versatile.

I’d love to get a pick-up on board and see where this little bad-boy could go!

RECOMMENDED FOR: This keyboard is ideal for the musician or producer who is always on the go and wants a small, portable device to integrate with their laptop setup.

PLAYABILITY: Straight out of the box, with a quick stretch of the strings and tune up, this instrument is really playable. It does struggle to feel familiar to a guitarist who is no doubt used to a much larger scale, but soon becomes very comfortable in the hands and has a nice and smooth hand action.

SOUND AND VERSATILITY: With 32 velocity sensitive keys, 8 assignable knobs and 8 assignable dynamic drum pads, you can do a lot with this little unit, especially with the inclusion of AIR’s Ignite Music Creation Software for quick and easy musical arrangement. This integrates seamlessly with M-Audio keyboards so you are ready to go right out of the box.

USABILITY: The plug and play nature of this device makes it quick to set up. You will be in control of your software within no time and can customize the controllers to suit your needs. It includes 5 navigation buttons and ten memory locations for saving your custom settings.

CONSTRUCTION: The satin finish is smooth to the touch and affords the GL-1 a great playability. It has a bit of weight to it, making it feel solid.

This instrument could be taken on the road anywhere. Built to last and built to be played.

CONSTRUCTION: Being a portable, lightweight keyboard, M-Audio has had to cut down on the construction materials. The controllers do not have the ‘take anything’ feel to them, but still get the job done.

OVERALL: This is a new take on an existing idea, with a redesign of how the components work together in the surface. A great little unit for travelling or even in a home studio when space is really at a premium, this could even find its way into DJ booths when a little extra control is needed. Including Ignite Music Creation Software will enhance workflow, capture ideas quickly and make for easy sharing and collaboration via Soundcloud - Awesome value.

OVERALL: This GL-1 is an unusual beast. However, when you actually start applying all the different ways it can incorporated into your life and how this clever little instrument bridges the gap between ukuleles and guitars, you’ll be convinced that you need one.

TC ELECTRONIC POLYTUNE NOIR PRODUCT TYPE: TUNER PEDAL DISTRIBUTOR: AMBER TECHNOLOGY

RRP: $179

ZOOM IQ6 XY STEREO MICROPHONE

RRP: $179

PRODUCT TYPE: STEREO CONDENSER MICROPHONE DISTRIBUTOR: DYNAMIC MUSIC

RECOMMENDED FOR: Um, it’s a tuner, so it’s recommended for anyone who values actually being in tune.

Which should be pretty much everyone, yeah? Pefect Xmas present for your musician pals and loved ones.

SOUND AND TONE: It’s true bypass, so your tone flows through the pedal utterly unaffected when it’s bypassed, and the signal to the amp is silent when tuning is engaged, so there really isn’t any sound to speak of. In the case of a tuner, that’s a very good thing.

USABILITY: Literally does most of the work for you.

Simply strum all six of your strings at once and it will show you a simultaneous readout for all six, telling you which are sharp or flat.

Also has a chromatic mode, strobe mode and the ability to handle Drop D and capo tunings and up to five semitones flat tunings as well. It’s extremely precise, which makes it great for intonation.

CONSTRUCTION: It’s tiny, it’s black and its bright lights are easy to see even in the dark. Truth be told, it kinda looks like Darth Vader, except a benevolent Darth Vader who wants to rid the galaxy of bad tuning instead of a Jedi.

OVERALL: A no-brainer of a tuner because it helps you tune incredibly accurately, but it doesn’t take up a bunch of space on your pedalboard. It doesn’t affect your sound in any way, and it’s able to adapt to a variety of different tuning requirements. At 160 grams and smaller than a business card, it will add more to your playing than the miniscule weight it takes up.

PG. 42 / MIXDOWN NO. 248 / DECEMBER 2014

RECOMMENDED FOR: Designed for use with newer model iPhones and iPads, this handy little tool turns your pocket iOS device into a very usable recording tool. Great for band rehearsals, song writing, capturing gigs and soundscapes.

SOUND AND VERSATILITY: Featuring an XY patterned stereo microphone pair similar to that found on the H5 and H6 handy recorders; you get an instant stereo spread with perfect placement from both microphones.

USABILITY: The two microphones can be easily rotated on their mount to adjust the position of the XY configuration allowing either a 90 or 120 degree spread. The whole unit slips into the available Lightning connector easily and after that, it is just a matter of setting the gain and you are ready to record.

CONSTRUCTION: This is a very lightweight item, built this way so it doesn’t throw out the balance when attached to you iOS device. Because of this, it isn’t the toughest pair of microphones, and so requires a little care when mounting and dismounting the device.

OVERALL: Zoom seems to have cornered the market with their XY patterned microphones. Just like those found on their range of handy recorders, these microphones sound fantastic and really represent excellent value for what they offer.

M-AUDIO OXYGEN25 MIDI CONTROLLER KEYBOARD

RRP: $179.99

PRODUCT TYPE: USB KEYBOARD CONTROLLER DISTRIBUTOR: PRO AUDIO GROUP AUSTRALIA

AVID FAST TRACK SOLO USB INTERFACE WITH PRO TOOLS EXPRESS

RRP: $189

PRODUCT TYPE: AUDIO INTERFACE DISTRIBUTOR: AVID AUSTRALIA

RECOMMENDED FOR: As both a live performance keyboard and as a studio production tool, the Oxygen 25 offers a wide range of features to ensure you get whatever task you have at hand completed.

SOUND AND TONE: Bundled with Sonivox TWIST synthesizer software and Ableton Live Lite, you get a great range of sounds from the Oxygen without even needing anything on your computer beforehand. The Sonivox VST is a really wild sounding soft-synth that sounds quite unlike anything else.

PLAYABILITY: The layout of all the controllers here is a pretty standard affair. Let’s face it, there is a formula for how most electronic musicians like to work with their controller keyboards and M-Audio have delivered just that so it’s easy to work around. Included are 8 velocity sensitive trigger pads for beat production and clip launching.

CONSTRUCTION: Although housed in a plastic chassis, there seems nothing wrong with the way this keyboard has been put together. The rotary encoders are tough and smooth in action, the fader doesn’t stick at all and the keyboard itself, with 25 synth action velocity sensitive keys, feels nice enough with a slight springy action.

OVERALL: All things considered, this is a hell of a lot of controller for the price point. M-Audio has done well to produce this unit and keep it valued where it is. You could say the Sonivox and AIR Music Tech Xpand 2 inclusion more than covers the cost with what you get out of that even before you take into consideration the keyboard itself, pads, controller, LCD screen, connectivity and inclusion of Ableton Live Lite to boot! Wow!

TYCOON PERCUSSION STK-29 CAJON

RRP: $189

PRODUCT TYPE: CAJON DISTRIBUTOR: DYNAMIC MUSIC

RECOMMENDED FOR: This is perfect for the solo guitarist or vocalist who wants an easy solution to quality recording without all the bells and whistles of a larger, multi-channel interface.

SOUND AND VERSATILITY: With Pro Tools Express software included, you have a vast array of plugins available to allow you to bring the best out in your performance. Whether you are recording a microphone, guitar or another sound source, the result can be professional quality.

USABILITY: As a solo performer, this interface is perfectly workable and offers the versatility you will need, only with the limitation of being able to record one sound source at a time.

CONSTRUCTION: These are a sturdy little unit. They are compact and designed for portability, so you can take it with you no matter where you want to record. The connections are all well appointed and the housing is pretty tough too. It’s fitted with one XLR microphone input, one quarter inch TS instrument input and has two RCA line outputs.

OVERALL: If you aren’t in need of multiple inputs, and are really more concerned with a quality software and hardware combination for your personal recording, the Fast Track Solo is going to tick most of the boxes for you… and get you into the early stages of the Pro Tools realm for a great price.

CUSACK SCREAMER V2 EFFECT PEDAL

RRP: $199

PRODUCT TYPE: ELECTRIC GUITAR EFFECT PEDAL DISTRIBUTOR: GLADESVILLE GUITAR FACTORY RECOMMENDED FOR: Anyone who feels the Tube Screamer doesn’t quite get there in terms of output or rudeness, or anyone who needs a little more transparency to retain the voice of their guitar.

SOUND AND TONE: This pedal is based on the classic Ibanez Tube Screamer circuit, but Cusack has made some changes that make it totally its own thing. For starters, it has about twice the gain of a Tube Screamer, which means it reaches into full-on distortion territory instead of smooth overdrive. It also has less of the midrange bump that Tube Screamers and similar pedals are known for, so it maintains more of the guitar’s own character. It strikes the perfect balance between guiding your tone and letting it speak for itself.

RECOMMENDED FOR: There is a little bit of rhythm in all of us and for those wanting to harness this without going as far as purchasing a drum kit, the Cajon is an ideal solution. Especially for use with acoustic guitarist when volume needs to be controlled, but a beat is still required.

SOUND AND VERSATILITY: With a tuneable snare wire, you can get just the right amount of sizzle from the front plate. There is plenty of bottom end in the STK-29 and a very sharp slap tone from the side panels.

USABILITY: A very clever Clip Selector switch gives you three modes: Standard, Crushed or Asymmetrical LED clipping. With these modes you can get anything from a smooth, lyrical drive to all-out war, and as a fun added bonus, the LED Clipping mode lets you see the signal getting clipped.

USABILITY: Built to a standard size and with rubber feet to prevent slipping, anyone and everyone can play this instrument. Just sit down and feel the rhythm.

CONSTRUCTION: Military-grade construction. This one falls into the ‘you could hammer a nail into a plank with it if you had to’ category.

CONSTRUCTION: A hardwood body and front plate on this Cajon are ready to be belted around as you find the beat.

Sturdy enough to be sat on, knocked over, hit, kicked and generally abused, this little boom box will take anything you give it and reply with a beat.

OVERALL: A great alternative for those who feel that other overdrives are almost there, but not quite.

OVERALL: For beginner and intermediate Cajon players, this is a very good unit. It comes with a carry bag as an additional option and has an Allen key for adjusting the snare springs found within the housing.

A simple design like this doesn’t need to be complicated, just well executed as is the case here.

PG. 43 / MIXDOWN NO. 248 / DECEMBER 2014

VOX TONE GARAGE V8 DISTORTION PEDAL

RRP: $199.99

PRODUCT TYPE: GUITAR PEDAL DISTRIBUTOR: VOX AUSTRALIA

RRP: $219.99

PRODUCT TYPE: AUDIO INTERFACE DISTRIBUTOR: YAMAHA MUSIC AUSTRALIA

RECOMMENDED FOR: Rock, classic metal, shredders or those just wanting hi-gain sounds in a pedal. Also players wanting actual valve tone thanks to the onboard 12AX7 preamp tube.

SOUND AND TONE: With the ability to clean up quite tones. With plenty of snarl and bite more saturated distortion. I’d see it squeally harmonics, but also burning

STEINBERG UR22 AUDIO INTERFACE

well, the V8 is definitely built for higher gain rock the Gain control runs you from thick and chunky to being a go to ‘solo’ pedal for big gain tones and rhythm sounds where plenty of distortion is needed.

RECOMMENDED FOR: This is a great starting place for anyone wanting to record music onto a computer. It also offers experienced users the ability to get a compact high quality interface for a very reasonable price.

SOUND AND VERSATILITY: The two microphone preamps sound great, and the ability to run a guitar direct in to one of the inputs is a bonus. The real key is the fact that this offers 192 kHz sampling rate when recording. It isn’t easy to find an interface in this price range that offers this sort of quality.

USABILITY: Easy to set the V8 Volume, Bass and Tone controls (with a mid shift on/off toggle switch) and a Gain knob for pushing the output or backing off a little. Simple input and output line jack for ease of use.

USABILITY: Possibly the simplest and easiest device ever released by Steinberg. It integrates perfectly with the included Cubase AI software and takes very little effort to get it installed and ready to record.

It will work with a range of instruments including keyboards and guitars, and works with just about any microphone given that it supplies phantom power.

CONSTRUCTION : I like the black theme (very rock) with the 12AX7 proudly on display in the centre of the pedal.

Slighter bigger in stature but nothing to scare you off the V8 looks the part and feels like it should handle plenty of gigs.

CONSTRUCTION: The tough casing that protects the inner workings of the UR22 has been well thought out. You are not going to have any issues with the unit getting damaged in regular use. It’s fitted with 2 XLR/ TRS inputs combo inputs and 2 TRS outputs.

OVERALL: Nice to see and hear some tube offerings from Vox in the pedal department. Seemingly angled towards vintage tones the V8 does on the edge breakup right through to sweet singing sustain with a usable mid shift for bumping (or dropping) the mid range focus.

OVERALL: With two microphone preamps, MIDI in and out as well as headphone monitoring, there is pretty much everything you need for home recording on the unit and everything you need to mix and master you music within the software.

PRESONUS AUDIOBOX iONE

RRP: $199

VOX VALVETRONIX VT20+ COMBO

RRP: $229

PRODUCT TYPE: AUDIO INTERFACE DISTRIBUTOR: NATIONAL AUDIO SYSTEMS

PRODUCT TYPE: ELECTRIC GUITAR COMBO AMPLIFIER DISTRIBUTOR: VOX AUSRTRALIA

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 interface is ideal in that it allows you to work with a laptop or an iPad and record anywhere, on the go.

RECOMMENDED FOR: Rock, pop, funk and anything else you want to try and model. Players after a big range of tones that are super tweakable in the one package.

SOUND AND VERSATILITY: You get a quality Presonus Class A microphone preamp in the Audiobox iOne. Just because it’s a compact unit that has been kept fairly trim on features, Presonus realise it should still sound as good as their larger interfaces do.

SOUND ANDTONE: All your classics are onboard with sparkly clean, chimey on the edge of breakup, right through to full gain shred machine. Between the models, effects and natural amp tone, you can pull a massive array of sounds that will satisfy a lot of players right off the bat.

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

USABILITY: Some amps that incorporate this many models and effects end up taking 3 months to get your head around. The VT20+ isn’t one of those thankfully! You can operate the VT20+ along the lines of a normal amp by selecting an amp type and then tweaking Gain, Volume, Treble, Middle, Bass and Master, or delve into deeper programming from there if you wish.

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

OVERALL: This is a brilliant little device for use with either a computer or an iPad. Just because a product is designed for use with iOS products doesn’t mean it needs to suffer in quality.

PG. 44 / MIXDOWN NO. 248 / DECEMBER 2014

CONSTRUCTION: Vox-ish with a modern edge. The VT20+ has the Vox badge on the front, feint diamond grille cloth and white chickenhead knobs. It features an underlying black theme that looks slick and clean.

OVERALL: Pushing the boundaries of the Vox tone, the VT line adds some extra features for those that want a little more. A fantastic amp for the budding guitarist or practise amp for the seasoned player.

ALESIS VI25 CONTROLLER KEYBOARD

RRP: $279

PRODUCT TYPE: USB KEYBOARD CONTROLLER DISTRIBUTOR: ELECTIC FACTORY

LAG T44A MINI ACOUSTIC GUITAR PACK

RRP: $299

PRODUCT TYPE: ACOUSTIC GUITAR PACK DISTRIBUTOR: AUSTRALASIAN MUSIC SUPPLIES RECOMMENDED FOR: The price would lead you to believe this is aimed at beginners and intermediate players, which it is. That said, it’s such a stylised, wellmade instrument that it’s suitable for anyone looking for a no-nonsense guitar with a clear voice and great playability.

SOUND AND TONE: The tone of this one is a little crispier and zippier than you might expect. It doesn’t have too much in the way of booming bass, but there’s a rich upper midrange and a clear, bright treble edge that really accentuates this guitar’s percussive capabilities.

PLAYABILITY: The light strings and finger-friendly action make this guitar a pleasure to play. The neck is a little fatter than some players might be used to, but it fits the hand nicely and gives you plenty to grip onto when you’re executing wide stretches or fast flat picked lines.

RECOMMENDED FOR: For lovers of gadgets and controllers, this has got to be the next keyboard for you. A compact unit with just 25 keys, it presents itself as far more than just a keyboard, with a massive array of controllers to go to work with live or in the studio.

CONSTRUCTION: There are higher-priced LAG guitars with nicer construction, but this punches well above its weight. The frets are finished nicer than they need to be, and the finish is well applied. Even the internal glue work seems to be neat and free of run-off. Includes a Spruce top, African Sapele back and sides with a Mahogony neck and Rosewood fingerboard and bridge. I dig the black rosette with Occitan cross too.

SOUND AND VERSATILITY: Bundled with Ableton Live Lite and Xpand2 software, you get a huge array of sounds to work with as soon as the VI25 is plugged in and ready to go.

USABILITY: Software control is what this keyboard is all about. You get 36 buttons, 8 rotary encoders and 16 drum pads along with the pitch and mod wheel and the 25 note keyboard. That is a huge array of controls crammed onto the top panel of a compact unit.

CONSTRUCTION: Although made from plastic, the build quality is still pretty good. The buttons all respond nicely, the rotary encoders are smooth and the drum pads all feel like they could take a beating and ask for more.

OVERALL: A great affordable acoustic for anyone, regardless of price. It’s not the most complex of tones, or the most flashy of looks, but it does everything it needs to, better than it needs to. The pack also includes uPlay Login and guitar maintenance handbook, LAG gigbag, strap and picks.

OVERALL: I am just astounded by how much Alesis have squeezed onto the top panel of this compact keyboard. The ability to take control of your DAW with just one device like this is brilliant. Just spend a little time mapping it all out to your liking and you are good to go.

SX ELECTRIC GUITAR PACK

RRP: $299

PRODUCT TYPE: ELECTRIC GUITAR PACK DISTRIBUTOR: AUSTRALASIAN MUSIC SUPPLIES

AVID FAST TRACK DUO USB INTERFACE with PRO TOOLS EXPRESS

RRP: $299

PRODUCT TYPE: AUDIO INTERFACE DISTRIBUTOR: AVID AUSTRALIA RECOMMENDED FOR: Beginning guitarists looking for the best possible start in this wonderful world of rock.

SOUND AND TONE: This Strat-styled guitar sounds the part, with zippy, twangy, chewy-sounding pickups that give you everything from bluesy grit to country twang to a classic rock snarl.

It’s probably not going to satisfy the tonal cravings of budding metal guitarists (a guitar with a humbucker pickup in the bridge position would do that job nicely) but for the majority of beginners, there’s everything you need here.

PLAYABILITY: The playability is good out of the box, but this type of design is so elegant and useradjustable that you can dial it in to the most comfortable setting pretty easily. The included amp gives you a nice broad range of tones to get started with.

CONSTRUCTION: This is never going to compete with USmade custom shop instruments, but guitars like this are far better than the ones folks were learning on 15 or 20 years ago. There are little finishing flaws here and there, but nothing worth getting in a tizzy over.

OVERALL: A great starter pack for any young rocker, or for those who wish they started when they were a young rocker but are ready to play catch-up. Also includes gig bag, clip-on tuner, strap, cable and picks. What a bargain!

RECOMMENDED FOR: This is the interface you would look at when you require the versatility of a compact package, but still require high quality recording software.

SOUND AND VERSATILITY: The preamps in these devices are fairly smooth sounding, whether you are recording with a microphone, a direct instrument input or a line level from a keyboard. With Pro Tools Express software, everything you need to record, produce and create is here.

USABILITY: This reminds me of some of the Digidesign interfaces of previous years. Well designed to allow good workflow and easy to setup with a software package that works well with the user and the interface combined.

CONSTRUCTION: Housed in a tough metal casing, with input and output connections that feel firm when engaged, you can be fairly confident that you will get many years of heavy use out of this interface.

OVERALL: For a compact 2x2 USB audio interface, I really like this little unit. It does remind me of hardware I have used before, so that familiarity with a modern edge coupled with the software make it an all-round appealing device. Pricepoint is killer.

PG. 45 / MIXDOWN NO. 248 / DECEMBER 2014

TELETRONIX MULHOLAND DRIVE

RRP: $299.00

PRODUCT TYPE: ELECTRIC GUITAR EFFECTS PEDAL DISTRIBUTOR: GLADESVILLE GUITARS

YAMAHA HS5 STUDIO MONITORS

RRP: $299.00

PRODUCT TYPE: STUDIO MONITORS DISTRIBUTOR: YAMAHA MUSIC AUSTRALIA RECOMMENDED FOR: These are ideal for any home studio that wants quality audio reproduction without a high price tag especially when space is really at a premium. With that classic Yamaha ‘white cone’ look, these will make any studio look and sound professional.

SOUND AND VERSATILITY: These would have to be one of my favourite sounding 5 inch studio monitors below $1000. Like their predecessor, they offer a very flat response and precise transient attack without creating a fall low frequency delivery. They are a 2-way bi-amp powered studio monitor with a frequency range from 54Hz - 30KHz.

RECOMMENDED FOR: People that are looking to maintain the natural tone of their guitar and amp while adding a little edge or a little growl.

SOUND AND TONE: It’s designed from the ground up, rather than being based on a particular historic design. It has a lot of clarity even when you’re pushing the gain. It’s very responsive to changes in pickup setting or playing articulation, whether you’ve set the gain really low for a tonal tweak or cranked it for overdrive heaven.

USABILITY: You can use it like a simple clean boost for lower gain settings, and the treble control really lets you dial in how much smoothness or edge you want to rock. This is a great pedal for if you have a guitar with slightly underpowered pickups that you want to add some hair to, or if you have an amp that’s almost there but not quite.

CONSTRUCTION: Since the circuit is designed from the ground up, it possesses a unique sonic quality. The construction quality itself is top-notch, boutique-quality, matching the A-grade nature of the tones.

OVERALL: A great choice for blues players, country players and classic rockers who want some clarity, jangle, growl and crunch without losing their guitar’s personality.

PRESONUS CERES 3.5BT ACTIVE BLUETOOTH STUDIO MONITORS

RRP: $349.00

PRODUCT TYPE: STUDIO MONITORS DISTRIBUTOR: NATIONAL AUDIO SYSTEMS

USABILITY: These will fit in any studio. Even if you already have monitors set up, they will fit alongside them and connect with just about anything. Easy room shaping EQ allows you to get them sounding just right, no matter what environment you set them up in.

CONSTRUCTION: Built into a solid housing that offers no resonant characteristics when playing, they are set to go the distance. Long periods of use do not fatigue these monitors; they just continue to deliver over and over.

OVERALL: In my opinion, these are the best small studio monitors in their price range at the moment. These look the part, they are very well built, and they certainly offer a frequency response that is leagues ahead of their price tag. This is why I own a pair myself and regularly use them.

BRYDEN BANJO PACK PRODUCT TYPE: BANJO PACK DISTRIBUTOR: AUSTRALASIAN MUSIC SUPPLIES RECOMMENDED FOR: Beginning banjo players, guitarists wanting to switch to banjo, or anyone needing a cost-effective but well-built banjo with cool extras like a bag, strap, tuner and picks thrown in for good measure.

SOUND AND TONE: A very rich, vibrant sounding banjo with a nice three-dimensional sound, plenty of attack and really great projection. This thing is hella loud and will more than hold its own in a full bluegrass band or in an acoustic folkrock context.

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. They also work as a great multimedia speaker around the house too.

SOUND AND VERSATILITY: For such a small speaker cabinet, the Ceres 3.5BT actually sound a lot bigger than they are. A very focused sound and a full frequency response from an extremely compact unit.

USABILITY: The real beauty of these speakers is in the Bluetooth connectivity. You can set them up anywhere around the house and transmit your audio stream direct to them without the need to plug in your Bluetooth device. Stream audio direct from your phone onto studio quality speakers and hear the difference.

CONSTRUCTION: These speakers are built pretty sturdily. All the inputs (RCA and quarter inch TRS) and outputs are found on the rear of one of the speakers, with the amplifier housed within that unit. Then a speaker cable is used to send the audio to the other speaker. They feature a 5.5 inch kevlar woofer and a 22mm silk dome tweeter.

OVERALL: This is a really cool idea. Presonus have bridged the gap between a home or office audio device and a pair of studio monitors. What the Ceres speakers bring to the table is a sound that puts you; the listener, into the studio, no matter what room you choose to listen to them in.

PG. 46 / MIXDOWN NO. 248 / DECEMBER 2014

PLAYABILITY: The neck is very comfortable. A deep ‘D’ shape that fills the hand nicely but also doesn’t prevent you from reaching complex chord shapes. The fretwork is exceptional, which means you can play some pretty dang speedy stuff without grating your fingers on the edges of the frets. That’s a good thing.

CONSTRUCTION: Good construction quality, especially in the fretting. The woods chosen look really nice. The only real let-down is the bridge, which feels just a little bit fragile and soft, at least on first impression. This part is easily upgradeable down the track though if you feel it’s not quite hitting if for you.

OVERALL: A great introduction to banjo with everything you need to get started, including the very highly-regarded Snark tuner, which clips onto the headstock and helps to keep you in tune at all times with an easy read-out and fast response.

RRP: $399.00

SX ELECTRIC BASS GUITAR PACK

RRP: $399.00

YAMAHA HS7 STUDIO MONITORS

PRODUCT TYPE: BASS GUITAR PACK DISTRIBUTOR: AUSTRALASIAN MUSIC SUPPLIES

PRODUCT TYPE: STUDIO MONITORS DISTRIBUTOR: YAMAHA MUSIC AUSTRALIA

RECOMMENDED FOR: Beginning bassists who are into rock, blues, jazz, funk, country or metal styles. It’s basically a great straight foward bass kit for beginners to take their first steps.

RECOMMENDED FOR: Perfect for medium to large sized rooms where they can be run a little harder than smaller monitors. These monitors give the user that extra grunt they may have been looking for in other speakers.

SOUND AND TONE: This type of design is known for its straightforward but adaptable tone. Don’t expect to get a music stores’ worth of sounds out of it, but what’s there is very adaptable. The included amplifier gives you a nice range of tone-sculpting options too.

SOUND AND VERSATILITY: There is something about the 7 inch driver that Yamaha have gotten spot on. These monitors remove the need for a sub to get a balanced sound, but they still sound full without having an excessive low end frequency response.

PLAYABILITY: This one comes right out of the box with the perfect string height, so little hands will adapt quite easily, despite the bigger strings you find on basses. The controls are easy to reach and the fret work is neat enough that you don’t have to worry about slicing your hand up, which is always a plus in this price range.

USABILITY: This is really the studio monitor that fills the gap between the compact HS5 and the robust HS8. It doesn’t take up anywhere near as much desk space as the HS8, but still delivers plenty of volume, and can be used much closer to walls without an unwanted build-up of low frequency artifacts.

CONSTRUCTION: Solid construction for this pricepoint. Not on par with mid to high-priced instruments, but certainly among the nicer budget/beginner level basses we’ve seen. Comes with amp, strap, gig bag, lead, tuner and picks.

CONSTRUCTION: I currently own the HS5 monitors from this same series and haven’t had an issue in the last couple of years. They get worked hard and never fault or sound distressed even after long listening sessions.

OVERALL: A great starter bass that will grow with your playing skills. It comes with everything you need to get rocking, and it’s built to last, so even when you graduate to costlier basses in the future, it’ll serve as a nice backup when needed.

OVERALL: these are the newest addition to the HS range and it is easy to see why these speakers are in such high demand. They would work well as a main set of studio monitors, or as an additional pair in an existing setup. The HS7 offer a different sound space to many other home studio monitors of different sizes.

M-AUDIO VOCAL STUDIO PRO PACK

RRP: $399.99

RRP: $429.00

PRODUCT TYPE: AUDIO INTERFACE DISTRIBUTOR: PRO AUDIO GROUP AUSTRALIA

RECORDING KING RD-04 ACOUSTIC GUITAR

RRP: $449.00

PRODUCT TYPE: ACOUSTIC GUITAR DISTRIBUTOR: DYNAMIC MUSIC RECOMMENDED FOR: Fingerpickers and strummers alike who need a vibrant, clear-sounding guitar for whenever the mood strikes.

SOUND AND TONE: A very bright-toned instrument with a unique sustain profile. Notes seem to start with a pleasing ‘crack,’ bloom up to full volume quickly and then taper off gradually in a nicely linear kind of way, which makes this one great for strumming or for fingerpicking when you require a lot of dynamic and notes of different durations playing over each other. It all adds up to an instrument that sounds more complex than you’d expect in this price range.

RECOMMENDED FOR: This is the ideal package for someone wanting to start out in home recording. It has an M-Audio M-Track interface, an M-Audio large diaphram vocal microphone, M-Audio studio headphones, Avid Pro-Tools Express software with the Ignite by AIR iLok USB key and USB and XLR cables so you are ready to go right out of the box.

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 you audio recording ahead in capability and in 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 any other similar instrument with 2 mic pre’s and line ins. 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. You will however get alot of use out of it if you treat each piece with care.

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.

PLAYABILITY: The setup straight out of the box is very playable indeed in terms of string height and tension. The strings themselves sound really great. They’ll last a long time too.

CONSTRUCTION: A solid Spruce top guitar in this price range is not all that common, and this type of top gradually ‘breaks in’ over time, so a guitar that sounds nice today will sound really great in a few years’ time. There are some rough spots here and there. The frets could use a good crowning, although it’ll hold just fine. The Fishman Presys with tuner is a nice touch.

OVERALL: This is a really nice acoustic for beginners or those just getting back into playing.

Although it’s not one of the ‘big name’ brands, Recording King has been around since 1930 so there’s some cool history to this brand too.

PG. 47 / MIXDOWN NO. 248 / DECEMBER 2014

ZOOM Q4 HANDY VIDEO RECORDER

RRP: $499.00

PRESONUS MUSIC CREATION SUITE

RRP: $599.00

PRODUCT TYPE: VIDEO RECORDER DISTRIBUTOR: DYNAMIC MUSIC

PRODUCT TYPE: MUSIC CREATION BUNDLE DISTRIBUTOR: NATIONAL AUDIO SYSTEMS

RECOMMENDED FOR: This is a real lifestyle device that will meet the needs of just about anyone wanting to capture that special moment forever and share it with the world.

RECOMMENDED FOR: When you have no idea where to get started 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: Like many of Zoom’s other audio recorders, the Q4 benefits from a stereo pair of X/Y mounted condenser microphones that accurately capture the sound of the room as it should be heard.

When used outdoors, a handy windshield is also included to keep environmental noise to a minimum.

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 Q4 has been designed to go just about anywhere you go. It is compact enough to fit in your pocket and clever enough to be adapted to a wide range of applications. With the tripod thread mount beneath the base, you can affix it to a range of stands and attachments to suit whatever conditions you are shooting under.

USABILITY: With a PS 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: There are a number of moving parts to this device including a rotating playback screen that could get damaged if not properly cared for. The unit itself is built quite well, but it will require a little care and attention to ensure it doesn’t get damaged with rough use.

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

OVERALL: For high speed motion shots and even really low light examples, like on a dark stage, the Q4 handles itself really well and delivers a surprising image quality for such a compact unit. Meaning, as a musician’s tool, this is an ideal addition to your gear list for capturing gigs and rehearsals.

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. The HD3 monitoring headphones and mic cable are a nice touch.

TOKAI SURFTONE ATE-S38-SFG ELECTRIC GUITAR

RRP: $649.00

EPIPHONE SLASH PLAYERS PACK

PRODUCT TYPE: ELECTRIC GUITAR DISTRIBUTOR: JADE AUSTRALIA

PRODUCT TYPE: GUITAR PACK DISTRIBUTOR: AUSTRALIAN MUSICAL IMPORTS (AMI)

RECOMMENDED FOR: Country, blues, roots, blues-rock, rock, indie, alternative and hard rock players. Basically anyone who appreciates the punchy twang of T-style guitars in the bridge position and a fuller, bigger neck pickup tone with a humbucker.

RECOMMENDED FOR: Beginners just starting out on a life of rock, or Guns N’ Roses fans looking for a fun, functional, Slash-approved rig. Together with an amp, a tuner, picks and a strap, it really has everything you need to get started.

SOUND AND TONE: The bridge pickup has all the twang, bite and jangle of a classic T-style design, aided by the snappiness of the Maple fretboard.

The neck humbucker has a smooth, mellow Californian vibe when clean, and a juicier blues-rock voice when you push the overdrive. The in-between mode is great for arpeggiated chording.

PLAYABILITY: Traditionalists might prefer a rounder fretboard radius in order to be more consistent with vintage-style designs, but the flatter radius of this model really works in terms of modern playability.

CONSTRUCTION: The fretwork is nice and the neck is very playable. The headstock might not be to everyone’s taste, but the finish is wellapplied, the bridge intents well, and the controls do what they’re supposed to.

OVERALL: It’s as attractive to play as it is to look at, and that’s saying something because it’s pretty much breathtaking. These can be had for a very affordable price, which makes this a nobrainer. By the way, Tokai’s Surftone range is exclusive to Australia.

PG. 48 / MIXDOWN NO. 248 / DECEMBER 2014

SOUND AND TONE: It’s not going to make you sound like Slash - the construction method and pickups are entirely different to what he uses, but it will give young players recognisably rock-worthy tones that will inspire them to play, and that’s what’s most important.

PLAYABILITY: The playability of the guitar is quite good.

The inbuilt Shadow tuner, which is part of the bridge pickup mounting ring, is a genius idea which gives you no excuses when it comes to tuning.

CONSTRUCTION: The construction quality of the guitar is a bit spotty, with noticeable finish flaws and rough frets. It’s clear that this is a budgetlevel axe rather than a $4,000 Gibson.

OVERALL: As an all-in-one beginners’ pack with serious rock cred, this nails everything it needs to do. Though the guitar and amp aren’t of the same quality as the higher end Epiphone and Gibson products, they’re capable of delivering a solid enough tone and a pretty perfect starting point for any aspiring rock stars. An hour in the hands of a good tech would iron out some of the finer fret issues.

Awesome package deal.

RRP: $689.00

FISHMAN TRIPLE PLAY USB WIRELESS MIDI GUITAR SYSTEM

RRP: $699.00

TOKAI SURFTONE ATE-S38P-SG ELECTRIC GUITAR

RRP: $699.00

PRODUCT TYPE: ELECTRIC GUITAR DISTRIBUTOR: JADE AUSTRALIA

PRODUCT TYPE: USB WIRELESS MIDI GUITAR SYSTEM DISTRIBUTOR: DYNAMIC MUSIC

RECOMMENDED FOR: Blues, rock, blues-rock, sleaze-rock, stonerrock, desert-rock, country, alternative, indie, punk, pop-punk. Anyone who wants the punch of a T-style guitar with the grit and growl of P-90-style single coil pickups.

RECOMMENDED FOR: This is the addition that every guitar player needs for their recording or even live setup. If you want to add some extra versatility to you guitar, or just completely change the way in which you record, this is what you should look into.

SOUND AND VERSATILITY: As far as sounds go, they are pretty much limitless. This is the ultimate in guitar versatility given that you transmit a MIDI signal from your guitar and this can then be translated into any sound you want. If you want your guitar to sound like a grand piano that’s been dropped from the back of a truck or the finest of cellos, you can do it with the Triple Play. Anything’s possible.

USABILITY: It is easy to install the pickup on any guitar, without permanent damage to the instrument, which is an added bonus. Wireless transmission terminates in the compact USB dongle that then feeds the signal direct into your computer. It is so simple to achieve results that used to require multiple pieces of hardware and a dozen cables.

CONSTRUCTION: Both the receiver and transmitter are housed in a tough plastic case and the pickup and mounting brackets are all tough enough to take any punishment they could possible get when mounted on your guitar.

OVERALL: For anyone who has thought about the idea of a MIDI guitar in the past, but has been put off by how complicated it all seemed, now you can leave you worries at the door. The Triple Play has just made it not only simple, but fast and efficient when tracking MIDI notes from a guitar and converting them to amazing sounds.

M-AUDIO TRIGGER FINGER PRO

RRP: $699.99

PRODUCT TYPE: USB CONTROLLER DISTRIBUTOR: PRO AUDIO GROUP AUSTRALIA

SOUND AND TONE: The pickups have exactly the kind of edge, snarl, bite, growl, roar and grizzle that works well with a T-style design aimed at louder, brasher styles. This one is as happy blasting out chugging power chords through distortion as it is reeling off arpeggios and single-note lines. It’s especially happy with a crunchy Marshall.

PLAYABILITY: The rosewood fretboard feels a little more gentle than the maple of the ATE-S38, and as a consequence, you might lean more towards bluesy playing and soft strumming than the kind of snappy, high-speed lines that the other model encourages. Otherwise they’re very similar.

CONSTRUCTION: Great build quality, nice frets, well-cut pickguard and nice quiet controls. The headstock might not be for everyone, but it’s tricky to design a new headstock for this kind of body shape. At least you can do that cool ‘behind the nut’ bending trick!

OVERALL: A great option for those who like the edgier, louder, brasher sounds that T-style guitars give you. A true tone-monster and extremely affordable.

EPIPHONE CASINO COUPE ELECTRIC GUITAR

RRP: $1159.00

PRODUCT TYPE: ELECTRIC GUITAR DISTRIBUTOR: AUSTRALIAN MUSICAL IMPORTS (AMI) RECOMMENDED FOR: Blues, rockabilly, country, indie and rock players who love the classic Epiphone Casino sound, but find the full-sized version a little bit too unwieldy.

RECOMMENDED FOR: This is perfect for anyone looking to get more control from their DAW and investigate further into a new ways of working with their audio. For anyone already working with a range of software packages, this hardware and software combination will bring it all together.

SOUND AND VERSATILITY: Bundled with software titles like Arsenal, Airdrums and Hybrid 3, you really have no limit to the range of sounds and possibilities that can come with the Trigger Finger Pro. That said, it will make short work of any DAW you are currently using too, and bring a whole new life to the way you create you sounds within the box.

USABILITY: The team at M-Audio have certainly thought this one through. You do get the typical design elements that would be expected on a similar controller in the 16 drum pads and transport controls. You also get four faders and four rotary encoders as well as a separate pressure sensitive encoder for menu scrolling.

CONSTRUCTION: I was astounded at how well this thing has been put together. It is a really tough piece of hardware that has a good weight to it. A metal rail is mounted on the underside to angle the face slightly, but this can be removed to lay the unit flat on a desktop if you wish.

OVERALL: In my opinion, M-Audio has hit it out of the park with the Trigger Finger Pro. It might have been a long time coming, but it surely was worth the wait.

SOUND AND TONE: Classic ‘rich-but-ratty’ P-90 tones with all the clang, bite, snarl and ring that you could hope for. There’s a great jangle in the middle position, and the neck pickup oozes with overtones and detail, while the bridge pickup growls and snaps just as it should. It also sounds great unplugged, with a pleasing midrange honk and great natural sustain. These qualities both transfer to the amplified sound and are especially prevalent when you step on the overdrive.

PLAYABILITY: Already a rather playable guitar type, this smaller version of the Casino bumps up the playability stakes even further by being a more manageable size. It seems a little easier to execute all-over-the-fretboard runs because you’re not wrestling with the body to get to the neck. The fretwork is nicely done too.

CONSTRUCTION: Great build quality, certainly an eye-opener if you’re used to Epiphone’s more budgetoriented axes. This is a serious guitar with serious tone and no visible finishing flaws to be found anywhere.

OVERALL: A corker of a guitar for those who love the vintage, semi-hollowbody P-90 sound, but are put off by the larger body size and the risk of feedback. When you get it to feedback it sings like the voice of an angel.

PG. 49 / MIXDOWN NO. 248 / DECEMBER 2014

AVID PRO TOOLS DUET AUDIO INTERFACE

RRP: $1375.00

RRP: $2350.00

AVID PRO TOOLS QUARTET AUDIO INTERFACE

PRODUCT TYPE: AUDIO INTERFACE DISTRIBUTOR: SOUND DISTRIBUTION

PRODUCT TYPE: AUDIO INTERFACE DISTRIBUTOR: SOUND DISTRIBUTION

RECOMMENDED FOR: When you are looking for a high quality audio interface for working with Pro Tools on either a Mac or a PC, you can’t really look past this compact device. Perfect for studio quality recording in a potable housing.

RECOMMENDED FOR: This is the ideal home recording interface when you need multiple inputs and you really need high quality preamps and conversion. For the home studio that doesn’t want to scrimp on quality, the Quartet is the interface to look at.

SOUND AND VERSATILITY: With the renowned Apogee microphone preamps as the beginning of your recording chain, the Pro Tools Duet offers exceptional quality audio the entire way through the signal path. This is backed up with excellent A/D conversion to ensure everything you want to record gets captured.

SOUND AND VERSATILITY: Just like the Pro Tools Duet, this features the high quality preamps and analogue to digital conversion that you want from a device of this calibre. With additional ins and outs including digital connections, the Quartet should integrate well with any recording setup.

USABILITY: The compact device is very easy to work with. A jog wheel works for volume control on the unit, with all inputs (2 combo mic/instrument/line connections XLR and quarter inch) and outputs (2 x quarter inch balanced line/speaker outs and one stereo headphone out) supplied via a breakout cable. This allows your workspace to be kept tidy and doesn’t interrupt your workflow.

USABILITY: With the ease of the user in mind, this unit handles like a dream. There are no stiff buttons to deal with on the top panel, just a smooth plate with touch responsive controls to allow you to work with minimum fuss. Includes four combo mic/instrument/line connections (XLR and quarter inch) and six quarter inch TRS balanced line/speaker outputs and one stereo headpone output.

CONSTRUCTION: Built into the same tough box as the Apogee Duet, simply branded by Pro Tools, this is a unit that has previously stood the test of time and continues to deliver great results.

CONSTRUCTION: Being built by Apogee, you know this is a solidly constructed unit. The jog wheel is smooth in action and all the touch response pads work perfectly. With all connections found on the rear, your cables are kept out of the way on your desk too.

OVERALL: There are plenty of compact USB interfaces on the market, but few offer the quality preamps and A/D conversion that you get with the Pro Tools Duet. Don’t let the size fool you, this is a serious piece of recording equipment that could take the place of any professional interface when only two inputs are required.

ORANGE DUAL DARK 50 AMP HEAD

OVERALL: This is not only a great looking interface, but one that sounds great too. With a range of input and output options on what is still a fairly compact desktop device, the Pro Tools Quartet could very well be the centrepiece of any serious digital audio workstation.

RRP: $3499.00

PRODUCT TYPE: GUITAR AMP HEAD DISTRIBUTOR: AUSTRALIAN MUSICAL IMPORTS (AMI)

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RECOMMENDED FOR: Rockers, metallers, stoner-rockers and stoner-metallers. Basically this is not your granddad’s Orange. It’s designed to explore the darker regions of guitar tone in a two channel 50 watt amp head.

SOUND AND TONE: Big and fat. That best describes the Dual Dark. It has monstrous bottom end, that classic Orange hairy top end, and a big fat rich midrange that manages to command, no, demand attention. If you play in a one-guitar band, it’ll fill out the sound nicely. If you play in a two-guitar band, you win. But the clean and crunch sounds are pretty cool too. You can scoop the mids if you really want to, but they sound so good you’ll wanna keep ‘em.

USABILITY: Very simple and straightforward. You can scoop the mids in the second channel, you can run it at different wattages and remove two of the power tubes as needed. There are two foot switching options: channel switching and/or attenuator switching - the latter meaning you can use it as a boost. Clever.

CONSTRUCTION: A nice chunky Orange amp with easy-to-see controls weighing in at 21kg. The black-and-orange look is very unique and loaded with attitude. Pre-amps include 5 x Ecc83/12ax7’s.

OVERALL: A hugely versatile amp that nonetheless leans towards big, fat, commanding, domineering tones, be they clean, crunch or an all-out distorted meltdown.

PG. 50 / MIXDOWN NO. 248 / DECEMBER 2014

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ROAD TESTED TC ELECTRONIC FLASHBACK TRIPLE DELAY effects pedal

TC Electronic has long been one of the key players in the digital delay business. Units like the legendary TC2290 have powered the sounds of players like U2’s The Edge and Dream Theater’s John Petrucci, and the company’s everexpanding line of pedals has seen them take all sorts of approaches to delay, from the minimal to the complex. But there’s nothing out there quite like the new Flashback Triple Delay.

POWER TRIO The charm of the Flashback is that it essentially

gives you the option of using three different delays at once, which opens up a world of creative possibilities. But first, let’s look at the controls.

There are 16 delay types at your disposal: four programmable TonePrint slots (which you can either create yourself on the free app or select artist presets, then beam them to your pedal via a smartphone or USB); Tape, Tube, Space, Analog, Analog Modulation, Reverse, Dynamic (i.e.: the volume of the repeats fades back underneath your notes until you stop playing), 2290, 2290 Modulation, Slap, LoFi and Ping Pong. You’ll see

the standard controls for Time, Repeats and Mix, plus a Tap Tempo button and a Subdivision knob which lets you select everything from quarter notes to triples and all the way up to several kinds of dual delays. There’s a Series/Parallel switch for selecting whether your three different delays run into each other or occur alongside each other, and a Delay 1/2/3 switch lets you dial in completely independent settings for each of your three delay settings one at a time using the same controls. Around the back you’ll find stereo inputs and outputs, an expression pedal back, a USB port and MIDI In/Thru jacks. The unit itself is quite big and chunky, but you want a pedal like this to be easily accessible rather than so small that you risk accidentally turning on effects when you don’t want to.

THREE TIMES THE FUN The possibilities here are endless. You can create all sorts of interesting rhythmic and textural moods. You can set up three otherwiseidentical delays with different times to create staggered rhythmic delays, or you can dial in completely different delay sounds altogether and either feed them into each other or run them all alongside each other. The ability to stack different delays means you can build tension across the progression of a song or solo by starting with one delay type and building to three as appropriate. One of my favourite delay tricks has always been the 80s trick of having a very short single repeat, then a ping pong delay set to eighth or quarter notes in parallel. The great thing about the Flashback Triple Delay is that you can pull off this trick and then add a third delay in parallel too - and Devin Townsend’s spacey, modulated, washy TonePrint works really well for this.

DON’T DELAY Everyone should run to a store right now to try the Flashback Triple Delay. This is such a great idea that it’s kind of amazing nobody’s done it

this way before. That’s before you consider the incredible range of sounds available by using your own TonePrints or those of a favourite artist. Everything is so well thought out, well implemented and well voiced that this one has usurped the mighty TC Electronic Flashback X4 Delay as my favourite current digital delay unit.

BY PETER HODGSON

RRP: $649 DISTRIBUTOR: AMBER TECHNOLOGY PHONE: 1800 251 367 WEBSITE: www.ambertechnology.com.au SPECS

• 16 Delay Types • 4 Programmable Tone Print slots • USB connection • Time, Repeats, Mix controls • Tap Tempo button • Subdivision control • Series/Parallel switch • Stereo inputs, outputs, expression pedal, MIDI In/Thru jacks.

HITS

• Unlimited sonic potential • Very well-voiced delay models • Interactive, performance-friendly layout MISSES

• None! Amazing piece of gear.

PEARL KAPUR LIMITED EDITION DRUMSET It’s not every day that you get to have access to a limited edition drum kit that is specified for Australia only. It’s even better when that kit just happens to be made by one of the most reputable brands in the drumming world. Enter the Australian only, limited edition and one of a kind, Pearl Kapur Drumset!

The sizes make it cooler too. I think it’s a cracker of a drum kit. Pity there’s only 18 of each colour being made. Get on it quick!

BY adrian violi

WHAT IS IT? Kapur is a wood that is twice as dense at Mahogany with unique properties. With the idea originating from the Pearl limited edition Kapur snare drum, the guys at Australasian Music Supplies have designed this kit in these specs for the Australian market only. That makes is a bit of a collectable. The kit itself features completely custom sizes, fittings, bearing edges and colours. The bass drum is probably the initial stand out with its more traditional depth.

It looks great too. The drums also feature Vision lugs, bass drum spurs from the Masters Series kits, full colour on the bass drum hoops and a slick limited edition Pearl badge. You get a Pearl Iso-Mount so you have the choice to mount the rack tom off a stand or just use a snare stand and do the vintage vibe. Also, and most importantly for the delivery of sound, the Kapur has Task Specific bearing edges.

HOW’S IT SOUND THEN? Great! The kit I tried had some Remo Vintage Emperors on it and they sounded the biz. The first thing you notice is the kick drum. The shorter depth gives you real punch and a shorter sound but it’s still big. I had nothing in the bass drum and it was usable and full. Very controllable. The toms speak beautifully, with minimal overtones accompanied by a very focused and true sound, with real cut and projection. The tone is very favourable and instantly musical. Overall, the Kapur timber gives dryness to the sound and combined with those rounded bearing edges, reminds you of something more vintage rather than modern. This makes it super groovy and cool. The sensitive snare drum cuts can be tuned up or down – in fact I liked it a little lower to get it fatter – and suits the feel of the kit as a whole.

The Pearl Kapur is a no nonsense affair. It’s not pretending to be a Masters kit, nor does it have to. It retails at $1499, which I think is a steal given the sound it can offer over other mid range kits.

HITS

RRP: $1499 DISTRIBUTOR: AUSTRALASIAN MUSIC SUPPLIES PHONE: (03) 9549 1500 WEBSITE: www.austmusic.com.au

PG. 52 / mixdowN NO. 248 / DECEMBER 2014

• Value • Exclusivity • Focused tone with real presence • Great sizes MISSES

• Limited finishes, • Snare could be a little fatter.

SPECS

• 22” x 14”, 6 Ply Bass Drum with fully rounded bearing edge • 12” x 8” Tom with rounded 45° bearing edge and ISS mount • 16” x 14” Floor Tom with rounded 45° bearing edge • 14” x 5.5” Snare Drum with standard 45° bearing edge.

• Chrome Drum Hardware.

• Finishes are #326 Red Datin or #103 Piano Black

ROAD TESTED Sterling By Music Man SUB RAY5 BASS A little history The Music Man StingRay 5 bass guitar is yet another entry in the long line of classics from the company. Introduced in 1987, it was the first allnew Music Man bass to be designed and built by the Ernie Ball team in San Luis Obispo, and it blasted the doors wide-open for the 5-string flood that would follow. It was based on the company’s Silhouette guitar design but with certain features from the 4-string StingRay bass too. For those whose budgets don’t quite stretch to a Music Man StingRay 5, there’s the Sterling

By Music Man Ray35, which we reviewed a little while ago. But in the interests of providing great Music Man-derived instruments at evermore-affordable price points, there’s also a SUB version of the Ray 5.

EVERYBODY LOVES RAY The Ray5 is available in three colours: Black (BK), Walnut Stain (WS), and HBS, which looks to be a sort of ‘honey burst’ sunburst. Whichever colour you select, the heart of the instrument is a solid hardwood body. Sterling doesn’t specify what kind of hardwood it is, and it’s pretty heavy despite the website’s spiel about light, airy bodies.

The maple neck features a rosewood fretboard on the WS and HBS models, and maple on the BK. And all the key Music Man features are present and accounted for: the split 4/1 tuning key layout; the cool bevelling, the proprietary bridge design that adds mass and increases the amount of metal making contact with the body for better string energy transfer; the sturdy six-bolt neck joint. Even the neck profile feels unmistakably Music Man-derived. The lone humbucking pickup looks just like the ‘real deal’ Music Man model. It has two rows of large magnetic pole pieces for a wider magnetic field, and its threescrew adjustment gives you greater control over its angle and height so you can better match the string angle and ensure consistent output from

string to string. The pickup is joined to a Volume control and a two-band active EQ (Treble and Bass, each capable of boosting or cutting its selected frequency). Battery access is through an easily accessible compartment in the back.

HITS

• Nice satin finish • Comfortable neck • Flexible electronics

PLAYTIME Like the Ray34, the Ray35’s playability is exceptional, not only for a bass in this price range but for a bass in general. A big part of this is the fretwork. It’s totally flawless in terms of the fret ends, which plays a big role in enhancing playability. The frets aren’t quite as nicely finished as on the Ray4 we reviewed (these ones poke over the edge at the B string side just a little bit, which could be the result of the wood settling after manufacture). This bass has a really nice natural tone, which translates well to the plugged-in sound. The natural tone is a little lower in treble detail than the Ray4, and this gives it a little more punch and oomph. The EQ gives the humbucker a wider range of sounds than would otherwise be available, including great slap/pop sounds, and you can get some nice deep ‘dubby’ tones by turning the bass up and the treble down. It also helps that you can use the preamp to restore and enhance that naturally lower treble content.

MISSES

• Folks like to know what species of wood they bought RRP: $625 DISTRIBUTOR: CMC MUSIC AUSTRALIA PHONE: (02) 9905 2511 WEBSITE: www.cmcmusic.com.au SPECS

• Solid Basswood body • 34” full scale maple neck • 12” radius fretboard • 21 Medium jumbo frets • Satin tinted neck finish • 45mm nut • Open chrome tuners • Neck width @ 12th fret – 62mm • 2 band onboard active preamp, cut & boost • Large Music Man style humbucking pickup • Large heavy duty bass bridge with full adjustments • Easy access truss rod adjuster • 6 bolt super strong neck joint.

GIMMIE FIVE This is a killer bass for beginning five-stringers, guitarists who want a bass for recording and messing around with, or even as a backup for more seasoned players. Budget-priced instruments have come a long way in the last decade or so, and although close inspection reveals hints here and there that this isn’t a US-made Music Man, the faithfulness to the key points of the design combines with a build quality that far exceeds price.

BY PETER HODGSON

SENSITIVE SOUL The plentiful built in kits and sounds are realistic and so is the feel from the new mesh heads. I always felt the sensitivity was there, even when I played more intricately or with faster ghost notes for example. The mesh kick pad really enhances the experience and I was really digging the fact that I had a full 6-piece kit with a second crash.

This is a great kit for the coin. You actually get a lot for your money. Alesis have done a very good job with this DM10 MESH eliminating the negative stigma that sometimes comes with not purchasing from some of the more well known electric drum manufacturers. It’s another option in the price bracket and it’s one worth considering.

ALESIS DM10 X MESH ELECTRONIC DRUM KIT

BY ADRIAN VIOLI RRP: $1399 (Street) DISTRIBUTOR: ELECTRIC FACTORY PHONE: (03) 9480 5988 WEBSITE: www.elfa.com.au SPECS

“I’m thinking of buying an electronic drum kit.

Which one do I buy? They’re pretty expensive hey?”

It’s a question that gets thrown around quite a lot, and unfortunately, when it comes to purchasing an electronic kit on a budget, the subsequent answer can be less than exciting. Now, forget what you think about brands making kits for the drummer on a budget because Alesis have just come up with an answer. Enter the new DM10 X Mesh.

HEART’S A MESH It’s the ‘mesh’ that should grab your attention.

The DM10 already made some headway when it was introduced a little while back but now you get a lot of kit all covered in mesh heads – something usually reserved for a higher priced kit. Let me share with you the kitty that comes

with a DM10 X. The DM10 X Mesh comes as standard as a 6-piece set up with a 12” snare, two 10” rack toms and two 12” floor toms. You also get a mesh kick pad, which is great, compared to the usual rubber affair usually seen on some kits.

You also get a 4-piece cymbal set up with a 12” Hi-Hat, two 14” Crashes and a 16” Ride, so the sizes are substantial and not too small, so far so good. The heads themselves feature 4 points of sensitivity and are tuneable to achieve a desired feel or response from the stick.

The whole thing comes on a 4-post X-rack with boom cymbal arms and hinged clamps, not once did I question the sturdiness of the rack or hardware. The DM10 module is a pretty cool thing too. You get an amazing 12 trigger inputs that accept third party pads and triggers with the ability to add another 10 inputs on a separate module!

DYNAMIC ARTICULATION There’s also a basic mixer for quick volume adjustments and over 1000 uncompressed samples that feature Dynamic Articulation – an Alesis excusive, where each sound is actually made up of multiple samples at various levels and articulations. This means that as you play harder or softer, the drum or cymbal actually changes its timbre or quality of sound and not just the volume or velocity. You can also input sounds directly via USB from your computer, play along with tracks built in on the unit or via iPod and aux input with or without metronome.

There are two stereo pairs of 1/4” outputs to send separate mixes to FOH or a monitor, headphone out with separate volume control and you get sequencing capabilities plus effects such as reverb and sensitivity settings.

• 6-piece kit with 10/10/12/12” Toms and 12” Snare.

• 4-piece cymbal set: 12” Hi-Hat, two 14” Crashes, and 16” Ride.

• Sturdy 4-post X-Rack with boom cymbal arms and hinged clamps.

• 4 points of sensitivity on each drum head for superior response.

• Includes DM10 sound module with 12 trigger inputs and mixer.

• Over 1,000 uncompressed samples featuring Dynamic Articulation™.

• Control computer software over a USB connection.

• Connects to iPad via Apple iPad Camera connection Kit. HITS

• Full 6-piece with mesh heads, • versatile module, • extra crash cymbal, • value for money.

MISSES

• Could have full hi-hat stand or a little bit more flexibility for tom(s) placement

DECEMBER 2014 / mixdowN NO. 248 / PG. 53

ROAD TESTED PEARL MASTERS SERIES BCX DRUM KIT Pearl Masters. It’s a name that doesn’t need a whole lot of introduction. For some years now, the Masters series has been a staple for many professional players, in particular the Masters MCX – a maple kit with some serious features and a great sound straight up. Well now, there’s a BCX and for those who like some grunt in their kit – it’s made of Birch.

ROCK STAR LOOKS The new BCX features the ever present Pearl 6ply, 7.5 mm shell in a Birch timber – offering a great alternative to the regular maple. The fun doesn’t stop there though. You get the choice of three striking finishes including a Golden Bronze Glitter (which I sampled), Silver Glitter and a frankly cool, Lava Bubinga. Other features include MasterCast die-cast hoops, OptiMount Suspension System, 100% Birch Bass drum hoops, moulded rubber gaskets and Remo heads as standard. There are three basic configurations available including 20”/10”/12”/14” or 22”/10”/12”/16” Fusion/Fusion+ packs and a 22”/12”/13”/16” Rock pack. Furthermore, besides choosing either a 14x5.5” or 14x6.5” snare drum, there are loads of other sizes available for all drums. The kit I tried features some truly gobsmacking sizes for some serious presence – try a 24x18” Bass Drum, 13x9” Rack Tom, 16x16” and 18x18” Floor Toms with a 14x6.5” snare drum.

Does the BCX look the biz? Hell yes! Did I feel like a rock star? You bet!

WHO NEEDS MICS? I’m not going to beat around the bush. This kit was epic. It could just be the sizes I tried that completely floored me, but this kit sounded mic’d up. The bass drum had instant response and more volume than I ever imagined it could, just enormous and very full, with heaps of lowend. You can feel it in your chest. The toms, too, were ridiculous. It took me a bit to tune these bigger drums, but when I found a sweet spot, there was loads of projection and so much presence. They just smack you in the face. The snare

too, was super cool – the 6.5” depth allowing for some low-end to come through at any tuning range. This kit had Remo Clear Emperors on the toms and an ambassador on the snare. I loved the snare, but would probably look at either some dampening or thicker heads for the toms.

That said; if you’re good at tuning, you’ll be fine with these drums. Bigger is phatter!

There’s an overwhelming sense of quality about this BCX. From the finish to the hardware and fittings, it looks and feels expensive, and this is perhaps the surprise about this kit. It’s actually not that expensive for a kit in this category. In fact it’s great value. To get in the game you’re looking at a smidge over $2000. I think this is a great kit but for that price it’s actually slamming. This could be a serious workhorse for some drummers. I like the warmth and depth the Birch gives and (particularly in bigger sizes) how punchy the drums are. If you like drums, you’ll dig the BCX unquestionably. If you’re a real fan of Pearl drums, you’ll love the BCX.

BY ADRIAN VIOLI RRP: $1999-$2259 (Depending on specs) DISTRIBUTOR: AUSTRALASIAN MUSIC SUPPLIES PHONE: (03) 9549 1500 WEBSITE: www.austmusic.com.au SPECS

• 3 Lacquer Finishes #357 Golden Bronze Glitter, #358 Silver Glitter, and #818 Lava Bubinga • 6 ply 7.5mm 100% Birch Shells • Artisan II Lacquer Finishes • 100% Birch Bass Drum Hoops • Masters Bridge Lugs • MasterCast Die Cast Hoops • OptiMount Tom Holders • Molded Rubber Gaskets • Remo Heads

HITS

MISSES

• Incredible presence and projection, • Quality fittings, build and value.

• Only three finishes available, bigger drums harder to tune.

EPIPHONE 1984 EXPLORER EX electric GUITAR

Epiphone has been careful to ensure that the playability of the 1984 Explorer EX puts up just enough of a fight to prompt you to whack the string hard and generate those big punchy tones. It’s not a hard guitar to play but it doesn’t do all the work for you either. You’ll need a heavy pick to get the right kind of crunch, and maybe a really long strap so you can really give it some fuel and fire with your picking hand.

THE MEMORY REMAINS Although fans of certain thrashers are probably the most logical owners of this guitar, it’s an all-round great metal axe which can cover a lot of ground, from hard rock to Open C extreme metal of the ‘Strapping Young Lad’ variety. And it has enough of its own thing going on that you can choose to celebrate its similarities to those axes used in the 80s and early 90s, or you can approach it as an instrument for your music right now.

BY PETER HODGSON

RRP: $1159 DISTRIBUTOR: GIBSON AMI PHONE: (03) 8696 4600 WEBSITE: www.gibsonami.com.au SPECS

The Gibson Explorer was ahead of its time when it was released in the 50s, and still seemed like a bit a quirky anachronism in the 70s. But in the 80s it found itself at the centre of a revolution in guitar; thrash. This highly technical, highly aggressive new form of music required a guitar that could have plenty of punch, was playable, and looked badass. Certain players took the Explorer and popped a set of EMG pickups in it, and went on to create history. We’ll leave it to you to figure out who we’re talking about…

Anyway, the 1984 Explorer EX pays tribute to the meeting of Explorer and EMG that helped to define the future of heavy music.

RIFFER THAN THOU This model isn’t exactly like the Gibson that certain thrashers were modifying in the 80s. It has a simple volume/tone control layout instead of volume/volume/tone, for instance. But it still

has that aggressive shape, Mahogany body and neck, 22 frets and a whole lot of attitude. The neck is a SlimTaper “D” profile, which positions the hand perfectly for complex riffage, aided by the 12” fretboard radius, which gives you a flatbut-not-too-flat playing surface. The fingerboard is Rosewood and is adorned with simple dot inlays. The strings are anchored by a StopBar tailpiece and they pass over a LockTone TuneO-Matic bridge, and the nut width is 1.68”. The classically-shaped headstock carries six Grover tuners with small buttons.

The active pickups are an EMG 81 in the bridge position and an 85 in the neck. There’s a battery compartment in the back, and a 3-way pickup selector gives you bridge, bridge/neck and neck options. The pickup choice is an interesting one because certain thrashers favoured an EMG 60 in the neck position. But this is not designed to be an exact copy of anyone’s guitar. Oh, also

PG. 54 / mixdowN NO. 248 / DECEMBER 2014

it’s available in two colours: Alpine White and Ebony. No other colours are available. Sad but true.

EAR OF THE BEHOLDER So how does this beast sound? Big, mean, precise and powerful. The EMG 81 keeps up with ultra-fast alternate picking while striking the perfect balance between attack and body.

It keeps up with down-tuned riffs perfectly well, and it has exactly the kind of slightly cold, slightly sterile clean tone that many thrash players look for. The neck pickup isn’t as smooth and bluesy as the 60 would be, but again it gives you great attack and definition for fast playing - which is especially important in thrash lead-playing where you’ll find yourself doing everything from bluesy bends to rapid-fire arpeggios, string skips and tapping. The neck pickup’s clean tone is a little livelier than the bridge, approaching an almost jazzy texture at times.

• Body Material: Mahogany • Neck Material: Mahogany • Neck Joint: Glued-In, Set Neck • Fingerboard Material: Rosewood • Machine Heads: Grover(TM) with small metal buttons • Neck Pickup: Active EMG-85 • Bridge Pickup: Active EMG-81 • Pickup Selector: 3-way Toggle Switch, Epiphone All-Metal HITS

• Aggressive tones • Great build quality • Robust playability MISSES

• Streamlined controls reduce versatility • EMG 60 would have been cool

QSC TOUCHMIX-16 DIGITAL MIXER

a basic line mixer, just about anyone could operate this unit without the need to reference the manual, and once you get into the guts of it, it is still pretty straightforward. This is not to say it lacks in features. You get gate, compression, high-pass filter and a 4-band EQ on every input channel to start with, so it is easy to get the sound somewhere near where you want it without getting too technical.

With 16 XLR inputs on the top panel as well as a pair of stereo inputs, this will cater for a large range of applications. On the rear panel, along with the master output, you get 6 auxiliary sends, all on XLR connections. I love this, it makes running individual fold back sends to powered speakers so easy. Plus, there are two more stereo auxiliary sends on TRS connections on the top panel. This unit has pretty much everything most bands will ever need to operate their own PA system. It’s a big two thumbs up from me.

BY ROB GEE

RRP: Call for pricing DISTRIBUTOR: TECHNICAL AUDIO GROUP PHONE: (02) 9519 0900 WEBSITE: www.tag.com.au SPECS

• Inputs: 12 mic, four mic/line (XLR/TRS Combo), two stereo line (TRS), talkback (XLR), USB 2-track • Outputs: Six aux (XLR), two stereo (TRS), main R/L (XLR), cue (TRS), monitor (TRS) • Dimensions: 89 mm × 360 mm × 297 mm • Weight: 2.98 kg It almost seems like the development of the digital mixing console has been split into two areas in recent years, leaving a large gap in the market. You really have the choice of a large format console that will require you to re-mortgage the house, or a unit that requires an iPad to act as the brain. There’s been no middle ground for some time. A portable digital mixing console that is fully self-contained, and doesn’t require a visit to the bank before you can consider looking. Well, QSC have put an end to this issue with the release of the TouchMix-16.

FLYING BLIND I decided, “being a man”, to just wing it with the TouchMix-16 and see how far I could get without needing to look at any form of manual.

This would put to test the design of the system.

There is nothing worse than getting in front of a new digital console and having to scratch your head when you realise the minimum requirements for operating the system are at least three years of tertiary study and a pocket full of cheat notes. Fortunately, this wasn’t the case with the TouchMix. It’s very well laid out

and completely approachable to anyone that’s used to working with mostly analogue consoles.

Inputs and outputs are all where they should be.

The transport controls are pretty obvious too. It all comes down to working with the touch screen that is also laid out in an intuitive manner.

FAST RESULTS This is what you should expect from a digital mixing console. It should be quick and easy to operate and this process should also be improved upon consecutive uses. For use as

HITS

• Intuitive design for fast a learning curve, • Comes packaged with carry case for unit and power supply, • Now need for additional breakout cables or peripherals, • Plenty of signal output options for a range of applications.

MISSES

• Slightly cramped touchscreen workspace.

ensemble Thunderbolt™ Audio Interface

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DECEMBER 2014 / MIXDOWN NO. 248 / PG. 55

ROAD TESTED DV MARK LITTLE 40 II BASS AMPLIFIER and the foot switchable reverb has a really addictive way of supporting and cushioning the note without overwhelming it. It’s a rather unique reverb, not quite like a spring reverb, not quite like a cathedral or hall reverb, and it sounds great. Maybe DV Mark could consider offering it in a pedal so everyone can share in its charms.

TOP 40 This is a really flexible amp no matter what style you play. It even pushes into high-gain metal territory, maybe not in the same way as, say, a 5150 but certainly in the ‘hot-rodded Marshall’ kind of way. The decision to use an expanded Tube Marker in the second channel is an inspired one and the reverb is really great.

BY PETER HODGSON RRP: $1450

DV Mark’s Little 40 L6 and L34 amps - now discontinued - are flexible, adaptable little beasts that ride the fine line between shaping your sound and still letting the sound of your guitar’s pickups and woods shine through. But this year DV Mark has given its amp line an overhaul with some cool new features and great new models like Greg Howe’s signature Marigold amp. The Little 40 II is consistent with this overhaul, and it’s a unique little amp with some very cool features.

SPEC CHECK The Little 40 II is a 40 Watt Class A/B amp with a single ECC83 preamp tube, while the power section has two EL34s and an ECC83. There are two channels, each with a passive tone stack (low, mid and high) and controls for gain and master volume (it’s kinda confusing calling each channel volume a master volume, since that

term is usually reserved for a global volume that controls the whole amp’s output), while there are shared controls for presence and reverb. The reverb on the Little 40 is DV Mark’s new digital reverb, which DV Mark says is designed to be sweet-sounding, warm and natural and with less noise than a regular spring reverb. Around the back you’ll find speaker outputs for 4 ohm, 8 ohm and 16 ohm cabinets, and there’s a series effect loop with a send FX level switch to select between 0/-15dB. There’s a footswitch jack for selecting between the clean and drive channels and for turning the reverb on and off. It’s a pretty light amp (around 20kg), and the side-mounted handle makes it even easier to carry. Oh and the DV Mark logo lights up and changes colour when you switch channels. Neat!

PEDAL TO THE METAL You’ll notice that a single ECC83 is a pretty small preamp tube count for an amp capable of high gain. But DV Mark has added an onboard circuit inspired by distortion pedals for the second channel. If you look at the circuit diagram it’s actually labelled ‘Tube Marker,’ which is a great DV Mark distortion pedal, except that pedal only has a single tone control instead of the Little 40 II’s three-band EQ. DV Mark has really hit a sweet spot here in terms of offering warm, rich cleans and crunch tones from channel one, with plenty of depth, midrange push and clear high end, while giving channel two a wide range of distortion tones from light rock overdrive to more saturated distortions and leads. The EL34 power section gives you plenty of chest-thumping power, and this amp gets loud despite its small size. The effects loop is nice and transparent,

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

• • • • •

Power output: 40W Preamp tubes: 1x ECC83 Power tubes: 2 x EL34, 1 x ECC83 Dimensions: 465mm x 205mm x 263mm Weight: 9.2 Kg

HITS

• Huge range of tones.

• User-friendly layout.

• Loud as hell, in a good way.

MISSES

• Separate reverbs for each channel would be nice.

MATON M-SERIES ECW80CM MAHOGANY ACOUSTIC GUITAR cut that you need.

The pickup/mic system translates the best of what the guitar has to offer and lets you finetune its response to bring out the body or the attack depending on what you’re after. But the Sapele top, back and sides give you a kind of warmth and midrange vocal-ness that are unlike any other dreadnaught you’ve ever played, and careful adjustment of your picking dynamics lets you either emphasise or reduce the strength of these mids. It’s a truly interactive playing experience, and it’s hard to put this guitar down.

Just as Maton’s 808 design has been powering the music of Australian virtuoso finger stylist’s for decades now, their dreadnaughts have always appealed to those who need a guitar that can do everything from supportive power-strumming to delicate finger picking and even jazzy solo lines.

Maton dreadnaughts have taken the stage with some of the greatest players ever to pick up the instrument. So what happens when you pair this classic design with a darker, more midrangeheavy woods like Mahogany and Sapele?

HEY MATE! The M-Series ECW80CM has solid Sapele face, back and sides (this wood is reminiscent of Mahogany in some ways,) surrounded by simple but elegant binding and with Herringbone inner and outer ring sound hole rosette. There’s also the classic black pickguard with the stylised Maton ‘M’ logo, and a generous treble-side cutaway to increase access to the upper frets.

The neck is made of Mahogany and is cut to a very comfortable not-too-fat/not-too-thin carve.

The fretboard is made of Rosewood, and it’s matched by the Rosewood veneer headstock and Rosewood bridge (which carries a piezo element as part of the amplification system).

The fretboard face has simple, unpretentious 6mm mother-of-pearl dot position markers, and the strings pass over an expertly cut bone nut.

PG. 56 / MIXDOWN NO. 248 / DECEMBER 2014

Like the EBG808M, the ECW80CM’s preamp is Maton’s AP5-Pro, blending mic and piezo signals (with the mic hanging out on its own adjustable little swing stand). There are also sliders for bass and treble, and a pair of rotary midrange controls: one to dial in the frequency and one to dial in the boost or cut. This system stays out of your way while simultaneously allowing you to get the job done.

ACTION The first thing you notice when you pick up this guitar is that the action is very carefully set up with just the slightest amount of relief, but a nice medium/low string height allows you to play comfortably in the middle of the neck without fret buzz. It’s so comfortable, musical and buzzfree that you might find yourself dwelling in this region for a while before you even play your first open chord. But those lower chords sparkle with definition, body and great note separation. If you play intricate folk guitar primarily in the first position you’ll notice a distinct absence of finger fatigue. If you play Tommy Emmanuel style and find yourself wandering all over the fretboard, you’ll love the increased upper fret access. And if you’re the kind of player who needs to strum super-hard as part of a driving country rhythm section, this guitar delivers the goods with exactly the kind of low-end power and high-end

TRADITION AND EVOLUTION Some players might still prefer the more scooped mids of a traditional dreadnaught and that’s great: Maton makes plenty of those.

Though, if you’re looking for something with a bit more warmth in the mids and a little more uniqueness, the kind of thing that makes other guitarists go ‘I have to know what they’re using’, and that makes you go ‘this is my sound’, the ECW80CM is hard to pass up.

BY PETER HODGSON AVAILABLE FEBRUARY 2015 DISTRIBUTOR: MATON GUITARS PHONE: (03) 9896 9500 WEBSITE: www.maton.com.au SPECS

• • • • • • • •

Type: Dreadnaught Cutaway Face, Back & Sides: Sapele Neck: Mahogany Fingerboard: Rosewood Bridge: Rosewood Pre-Amp: AP5 PRO Machine Heads: Chrome Grover Case Included: Maton Hard Case

HITS

• Great midrange warmth.

• Handy pickup/mic blending system.

• Great action all over the neck.

MISSES

• No onboard tuner.

TC ELECTRONIC TRINITY 2 REVERB GUITAR EFFECTS PEDAL HALL OF FAMER TC Electronic’s Hall of Fame Reverb pedal is one of my alltime favourites, an incredibly versatile yet foot-friendly little stomper that you can use as-is, or with TonePrint - presets made by your favourite artists or even yourself, and beamed to the pedal by holding a smartphone up to your pickups (or by USB).

TC boiled the Hall of Fame down to its barest essentials with the Hall of Fame Mini pedal (with just a lone Reverb knob - all the other controls are handled via TonePrint). The T2 Reverb may share a basic layout with the Hall of Fame, but it’s designed from the ground up with ten exclusive reverbs crafted by TC Electronics and ProGuitarShop’s tone connoisseurs.

PROGAMMED BY P The controls include a mode selector rotary switch, pots for Mix, Tone and Decay, and a mini toggle that governs the predelay time - in other words, the length of time between striking the note and having the reverb start. There are stereo inputs and stereo outputs, you can select between true or buffered bypass, analogue dry-through so your original sound remains unaffected, and spill over so you can either cut your reverb off abruptly when you bypass the pedal or let it tail off naturally.

So let’s look at the different sounds lurking in here. Reverb I is a warm space and slow modulation with stretchy, elastic qualities. Reverb II is a long sustaining reverb mixed with a

watery, organ-like vibrato. Reverb III is a clear, glassy reverb with an ominous low end throb.

Reverb IV is a huge cathedral-type reverb without any boundaries. Reverb V is a slow pitchbending reverb with doubling effect. Reverb VI is a “syrupy” plate reverb with warm tails and subtle modulation. Reverb VII is a flanged reverb with classic 80’s sweep that stays in tune.

Reverb VIII is a deep, natural hall reverb with maximum allowed decay. Ethereal 1 is pure reverb interacting with itself, bouncing around to create a perceived upper harmony. And Ethereal 2 provides a pulsating drone behind the notes generating an eerie wall of sound. There’s also a TonePrint setting so you can load in whatever you like.

T2: JUDGEMENT DAY TC Electronic and ProGuitarShop have done something pretty amazing here: they’ve conjured up a suite of reverbs which sound moody, atmospheric and musical, but with a hint of magic. In other words, it’d be really easy to take the processing power of this pedal and crank out a bunch of reverbs that come across like sound effects from one of the Star Wars prequels, but instead they’ve harnessed that power for the forces of good. For instance, Reverb V’s pitch bends could have sounded synthetic, but instead they have an eerie beauty. And if you’re a fan of Devin Townsend’s approach to reverb, you’ll hear all sorts of great ambient washes and swooshes in Ethereal II. This is a pedal that works best when you’re using it with a clean sound because it enhances it and shows it in its best light - but then when you use it with overdriven tones you can create these otherwise unattainable sound scapes and sonic environments that take rock guitar into weird new dimensions, in the best possible way. There isn’t a single sound here that you won’t find yourself lost in for hours.

ECHO. ECHO. ECHO. If you’re after recreations of specific types of echo, this isn’t the pedal for you. If you want to see where reverb can go when some very creative and inspired minds really get to run wild

with algorithms and parameters and textures, this is one of those rare pedals that inspires you to create worlds of music you would otherwise not have ventured into.

BY PETER HODGSON

RRP: $319 DISTRIBUTOR: AMBER TECHNOLOGY PHONE: 1800 251 367 WEBSITE: www.ambertech.com.au SPECS

• Bypass mode - True Bypass (Buffered Bypass optional) • Signal circuitry - Analog dry-through • Dimensions - 72 mm x 122 mm x 50 mm • Input connector 2 Standard ¼” jacks – mono/TS with automatic mono/stereo sensing • Output connector 2 Standard ¼” jacks – mono/TS with automatic mono/stereo sensing • Power input Standard 9 V DC, centre negative >100 mA (power supply not included) • Battery option Standard 9 V (battery not included) • USB port Mini USB connector for uploading and editing custom TonePrints and for software updates HITS

• Unique, otherwise-unattainable sounds.

• Easy to control.

• Flexible routing options.

MISSES

• None. If you want traditional, check out the Hall of Fame Reverb instead.

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visit yourmic.com.au for more information DECEMBER 2014 / MIXDOWN NO. 248 / PG. 57

ROAD TESTED FUJI GEN (FGN) J-STANDARD ODYSSEY JOS-FM-R GUITAR LIKE A COMFORTABLE PAIR OF OLD JEANS This is a world-class guitar from a world-class factory, with great appointments, great tone and great playability. FGN might not be the first brand you’ll think of when considering this type of axe, but it’s worthy of a test drive, whether you play hard rock, shred, country, blues-rock, top-40 or fusion. It’s as versatile as it is good-lookin’.

BY PETER HODGSON RRP: $1269.99-$1389.99 (Depending on specs) DISTRIBUTOR: Music Connection PHONE: (08) 8331 8920 WEBSITE: www.musicconnection.com.au SPECS

Japanese plant Fujigen has been building guitars for some of the biggest names in the business for decades, but the company has branched out into making their own instruments too. FGN guitars have been available in Japan for quite a while, but they’re a relatively recent entrant on the Australian scene. The J-Standard Odyssey JOS-FM-R is a great place to start because it has a bit of the traditional and a bit of the modern.

A NEW STANDARD FGN describes the J-Standard series as ‘Modified versions of some historical guitar brands’, but that’s really selling their own designs short, because they’re quite distinctive and identifiably FGN even if you can look at them and say “Yep, I can see where they started with this one.” Even the basic S-style outline is heavily modified to be more aggressive yet more ergonomic. The body is Basswood with a beautifully book matched Flame Maple laminated top and a three ply pearloid pick guard that stops a little short of the treble-side cutaway so you can see more of the finish. The top is surrounded by elegant

cream binding, and the ‘Jeans Burst’ finish looks great in photos but even better in real life. The neck is hard Maple and the fretboard is made of Rosewood with 21 medium high frets inlaid with FGN’s proprietary Circle Fretting System (CFS).

This is a subtle modification to the regular way of doing things: the frets are very slightly curved like a smile, which allows for the same distance between each fret. It’s hard to explain but it makes sense when you see the graphic on the helpful hang tag. The result is that it improves intonation and seems very slightly easier to play too. It is very subtle though and most players might not notice it, but might put its results down to ‘some kind of awesome guitar mojo.’

The neck joint is contoured for easy access to the upper frets.

The scale length is 25.5”, and the strings are anchored to an FJTR-S2P bridge, a two-point fulcrum style with a push-in bar. It performs quite well, and a lot of care seems to have been taken in optimising the break angle of the strings over the nut on their way to the tuners, allowing for great return to pitch. The pickups are a trio of

FGN models: two single coils and a humbucker.

Switching is standard S-style with the exception of a mini toggle for coil-splitting the humbucker, and there are master controls for volume and tone, rather than having two tone controls.

SURPRISE! There are all sorts of tones lurking in this guitar, but what’s perhaps most surprising is how very high-quality the single coils are. When you review enough guitars you start to expect ownbrand singles to be kinda phoned in, but FGN would never try to get away with such a thing.

They both sound great on their own and really vibrant when used together. The humbucker is relatively dry-sounding, perhaps somewhere between a Seymour Duncan ’59 and Custom in terms of sonics. It has a pleasing upper midrange with just enough chirp in the highs, and a tight focused low end. In single coil mode it’s sharp and punchy, with a little bit less output than the middle and neck pickups. This means you can set up some cool ‘virtual channel-switching’ sounds if your amp’s gain level is set just right.

• Bolt-On Construction • Maple & Basswood Bodies • Maple Neck • Rosewood Fingerboard • 21 Frets Medium High (C.F.S.) • 25.5” (648mm) Scale • Gotoh Tuners • Fujigen Original Bridge & Pickups (Pickups: FGN JOS-Sn (neck), FGN JOS-Sc (centre) FGN JOS-Hb (bridge) ) • Polyester Finish • Includes Gig Bag • Colours: JB Jeans Burst; 2 Tone Sunburst; Antique White; 3 Tone Sunburst HITS

• Great single coils, • Very playable neck, • Beautiful finish.

MISSES

• Humbucker’s single coil mode doesn’t quite keep up.

MATON M-SERIES EBG808M MAHOGANY ACOUSTIC GUITAR blues, gutsy twangy country or something a little darker. There’s a beautiful natural compression that happens when you pick aggressively. You hit a ceiling where the notes no longer get any louder; rather the whole guitar becomes alive.

The pickup system is very effective: the piezo element gives you attack and definition while the mic creates the body and depth. And the preamp gives you enough control that you don’t need to do any external processing.

THE 808 IS GREAT! This is a really beautiful guitar that would suit fingerpickers and delicate strummers, although it really opens up when you lay in hard with the pick as well. Its voicing is ideal for those who play in spacious ensembles rather than those who play in busier musical settings, and it has the personality and tone to work perfectly as a solo instrumentalist’s main guitar.

By Peter Hodgson

AVAILABLE FEBRUARY 2015 Maton’s 808 series is a classic of Australian guitar making, dating back to 1978 in its earliest form and standing the test of time through a variety of different tonewood configurations. The EBG808M takes a leaf - if you’ll pardon the vaguely wood-related pun - out of the book of the Maton Mahogany Mini, the ‘small, dark and handsome’ little acoustic that has been turning a lot of heads with its Mahogany neck and Sapele top, back and sides.

The EBG808M has solid Sapele face, back and sides (this wood is reminiscent of Mahogany in some ways,) with a Mahogany neck, Rosewood fingerboard, Rosewood veneer headstock, 6mm mother-of-pearl dot position markers, bone nut and a Rosewood bridge (with a piezo element tucked under the saddle). The fretwork is great, and in true Maton 808 style, the action is just perfect. It’s even and consistent across the neck, but not so low as to cause buzzing.

The workmanship is top-notch throughout, PG. 58 / mixdowN NO. 248 / DECEMBER 2014

and it’s one of those guitars that you just wanna look at, y’know?

The preamp is Maton’s AP5-Pro, blending mic and piezo signals. There are also sliders for bass and treble, and a pair of rotary midrange controls: one to dial in the frequency and one to dial in the boost or cut. It’s an unobtrusive and intuitive system that gives you a lot of flexibility.

MY APARTMENT SMELLS OF RICH MAHOGANY The smaller shape of the 808 is traditionally known to give a more balanced tonal response: unlike a dreadnaught which has that big punchy bass and clear treble, the 808 allows a little more delicateness through. There’s also something really satisfying about tuning the EBG808M down a few semitones. It sounds great in standard tuning but there’s a warmth and clarity that comes from this particular wood and this particular shape together that you just have to hear. It’s great whether you’re playing low-down

DISTRIBUTOR: MATON GUITARS PHONE: (03) 9896 9500 WEBSITE: www.maton.com.au SPECS

• Type: 808 • Face, Back & Sides: Sapele • Neck: Mahogany • Fingerboard: Rosewood • Bridge: Rosewood • Pre-Amp: Ap5 Pro • Machine Heads: Chrome Grover • Case Included: Maton Hard Case HITS

• Beautiful natural tone.

• Great playability.

• Handy mic/piezo blending ability.

MISSES

• No tuner in pickup.

• Restricted upper fret access.

PG. 59 / mixdowN NO. 248 / DECEMBER 2014

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PG. 60 / mixdowN NO. 246 / OCTOBER 2014

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