Mixdown Magazine July 2015 Issue #255

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

INSANE PEDALBOARD GIVEAWAY!

SEE PG. 8 TO WIN

ULTIMATE

SPECIAL DEF LEPPARD

IN S ID E

JAMIE XX

PLUS: HIGH TENSION, CIRCA SURVIVE, TWENTY ONE PILOTS, TIM ROGERS AND THE BAMBOOS, THE MELBOURNE GUITAR SHOW, AUSTRALIAN INSTITUTE OF MUSIC ROAD TESTS: Diamond Barchetta LT-T Electric Guitar, Orange Crush 35 RT Amplifier, Shure GLXD Guitar Wireless System, M-Audio M-Track Plus MKII, Sennheiser Clipmic Digital, Apogee Duet with Waves Silver Bundle, Vox AC10C1 Amplifier + Heaps More!

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CONTENTS GIVEAWAY

8

NEWS & TOURS

10

THE INDUSTRIALIST

12

PRODUCT NEWS

14

REFUSED

24

DEF LEPPARD

26

FORE WORD

CIRCA SURVIVE HIGH TENSION

30

TWENTY ONE PILOTS JAMIE XX

CIRCA SURVIVE PAGE 26 HIGH TENSION PAGE 30

31

U LT I M AT E

TIM ROGERS & THE BAMBOOS THE MELBOURNE GUITAR SHOW 32

I have to thank Furst Media for giving me my “first break” as a writer and all the other positions following. It’s been an absolute pleasure working alongside a team of writers, contributors, colleagues and clients who all believe in this product as much as I do. To our readership, thanks for all the feedback over the last five years and please continue this dialogue to help shape Mixdown into the best Australian music magazine possible.

AUSTRALIAN INSTITUTE OF MUSIC - SHORT COURSES UNLEASH YOUR INNER ROCK GOD 34 WHAT’S THAT SOUND? [D]IGITAL [J]OCKEY

35

HOME STUDIO HINTS BANGIN’ THE TUBS

SPECIAL

36

PA G E

ON THE DOWNLOW ULTIMATE PEDAL EFFECTS ROAD TESTS

GET SOCIAL:

38

38 FOR BREAKING NEWS, NEW CONTENT AND MORE GIVEAWAYS VISIT

SPECIAL 50

It’s been one hell of a ride, one enjoyable ride nonetheless, but it’s time to hang up my hat as Editor In Chief of Mixdown Magazine. I’ve had the pleasure of cutting my teeth to perfecting the art of putting a publication to print, 55 monthly issues done and dusted. My all-time favourite music mag, this role has allowed me to oversee a full magazine re-design and implement a new mobile optimised website which I’m proud to say is the one-stop-shop for Australian musicians and fans of music.

WWW.MIXDOWNMAG.COM.AU

FACEBOOK.COM/MIXDOWNMAGAZINE

@MIXDOWNMAGAZINE

Yes, it’s going to be hard to hand over the reins, but I am doing so with the best intentions, knowing some fresh blood will make it an even better publication in the long run. Thanks for all the laughs and chaotic moments on deadline, I will miss you all. So long, keep shredding and farewell for now… I’ll see you at a show soon!

ALEKSEI PLINTE EDITOR IN CHIEF

(not anymore mate, good luck! - Art Dept)

@MIXDOWNMAGAZINE

MADE BY MUSICIANS, FOR MUSICIANS AUGUST ISSUE #256 DEADLINE AND STREET DATES:

STREET AND ONLINE DATE: WEDNESDAY AUGUST 5 AD BOOKING DEADLINE: MONDAY JULY 27 EDITORIAL DEADLINE: TUESDAY JULY 28 ARTWORK DEADLINE: WEDNESDAY JULY 29 For more information on Mixdown Magazine contact us at: (03) 9428 3600 or email mixdown@beat.com.au

PUBLISHER Furst Media

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COVER ART Michael Cusack

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

CONTRIBUTORS Augustus Welby, Rob Gee, Peter Hodgson, Christie Elizer, Nick Brown, Adam Norris, Nik Corbet, Lachlan Kanoniuk, James DiFabrizio.

GRAPHIC DESIGN Michael Cusack, Ruby Furst

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COVER PHOTO: Lisa Johnson

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PG.4 // MIXDOWN #255 // JULY 2015

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GIVEAWAYS Ultimate Pedalboard Giveaway:

Last Month’s Giveaway Winner

This month we’re giving one extremely lucky Mixdown guitarist the chance to win the Ultimate Pedalboard, filled to the brim with some of the best effect pedals on the market and all featured within this very issue.

A massive thank you to our good friends and supporters who contributed the following; Mooer Pure Boost [Jade Australia], Red Witch Ivy Distortion [Music Link Australia], Walrus Audio Mayflower Overdrive [Gladesville Guitar Factory], EarthQuaker Devices The Fuzz Master General [Global Vintage], Visual Sound H20 V3 Liquid Chorus & Echo [EGM Distribution], Hotone Harmony Pitch Shifter/Harmonist [Noise Toys Imports], MC Systems CGN Dynamic Delay [CMC Music Australia], Dunlop CBM95 Crybaby Mini Wah [Australasian Music Supplies], VOX VLL-1 Little Looper [Yamaha Music Australia], Charlie’s Pedalboard C3 [Electric Factory], EBS Flat Patch Cables [Pedal Empire] and a CIOKS DC 8 Power Supply [Amber Technology]. Our minds are collectively blown and hope that the lucky winner of this amazing giveaway will be too!

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

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

Hermida Audio Zendrive Effect Pedal Many thanks to everyone who entered to win the very excellent Hermida Audio Zendrive Effect Pedal.

With thanks to our good mates over at Gladesville Guitar Factory, we’d like to congratulate…

Luke O’Keefe of Sydney, NSW

TO ENTER THIS ULTIMATE PEDALBOARD GIVEAWAY, SIMPLY FOLLOW THESE STEPS: 1. Head to our facebook page [facebook.com/mixdownmagazine] and like our page if you haven’t already.

And to everyone else, make sure you enter this month’s Ultimate Pedalboard Giveaway, we can’t wait to see who wins!

2. Like/share this very giveaway post. Hint: It will be tagged to the top of the page.

3. Follow the link or head to our Giveaway section at mixdownmag.com.au and fill out the entry details and tell us in 25 words or less, which effect from this month’s Ultimate Pedalboard Giveaway you’d most like to stomp on and why?

ONE ENTRY PER PERSON. AUSTRALIAN RESIDENTS ONLY. BEST OF LUCK!

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NEWS & TOURS Blur

Death Cab For Cutie

The Drones

Ali E

Blur are famously touted as pioneers of Britpop along with Oasis, are one of Britain’s most successful bands of all time. Their seminal records Parklife, Modern Life Is Rubbish and their 1997 self titled release have had an unmeasurable affect on rock and roll music. The band have toyed with the idea of touring Australia in recent years, famously pulling out of the Big Day Out a few years ago.

Now, 18 years later, the band finally makes their return to Australia alongside shows at Splendour In The Grass.

Joining Blur throughout the tour will be Jamie T, one of the most unique characters in British music to emerge in recent times. Don’t miss out, tickets are selling fast.

The Washington outfit, who are renowned for their thoughtful and poetic lyics, are here in support of their latest studio album Kintsugi, their first release since 2011’s Codes and Keys. It’s been nearly two decades since the inception of Death Cab into the indie music world and since then they’ve never looked back, making a name for themselves as one of the most important voices in alternative music.

They play a string of national dates alongside their Splendour performance.

The Drones are celebrating the tenth anniversary of their critically acclaimed 2005 release Wait Long By The River And The Bodies Of Your Enemies Will Float By. The record, which is now considered to be a modern Australian classic, was pivotal in launching the career of the then little known Melbourne band. They’ll be touring nationally to celebrate the milestone with Batpiss and The SMB in support. As well as celebrating the 10th anniversary of Wait Long By The River And The Bodies Of Your Enemies Will Float By, The Drones will also be rereleasing their entire back catalogue, including their forthcoming seventh studio album through their own label Tropical Fuck Storm Records.

Melbourne musician Ali E has just announced the release of her new EP Creatures. It’s a huge release for Ali, who first rose to prominence as part of Melbourne based grunge trio Damn Terran.

Over the past few years Ali has been concentrating more on her solo material, releasing her debut LP Landless in 2012, a release that earned her widespread critical acclaim and marked her arrival as a solo artist. Creatures is a decidedly grungier effort than her earlier solo work, a little more reminiscent of Damn Terran. Ali E will be heading out on tour to promote the release of Creatures later this month, and is well worth checking out.

TOUR DATES TOUR DATES

TOUR DATES

JULY 25 – QANTAS CREDIT UNION ARENA, SYDNEY NSW JULY 26 – SPLENDOUR IN THE GRASS, BYRON BAY NSW JULY 28 – ROD LAVER ARENA, MELBOURNE VIC JULY 30 – PERTH ARENA, PERTH WA

JULY 26 – 170 RUSSELL, MELBOURNE VIC JULY 30 – ANU BAR, CANBERRA ACT JULY 31 – UNIBAR, WOLLONGONG NSW AUGUST 1 – SYDNEY OPERA HOUSE, NSW AUGUST 4 – HQ, ADELAIDE SA AUGUST 6 – METRO CITY, PERTH WA

AUGUST 20 - DARWIN FESTIVAL, DARWIN NT AUGUST 22 - ROSEMOUNT HOTEL, PERTH WA AUGUST 28 - SMALL BALLROOM, NEWCASTLE NSW AUGUST 29 – TRIFFID, BRISBANE QLD SEPTEMBER 4 - THE GOV, ADELAIDE SA SEPTEMBER 5 - THE FORUM THEATRE, MELBOURNE VIC SEPTEMBER 6 - THEATRE ROYAL, CASTLEMAINE VIC

TOUR DATES JULY 3 - GRACE EMILY, ADELAIDE SA JULY 4 - THE LOFT, WARNAMBOOL VIC JULY 10 - SHEBEEN, MELBOURNE VIC JULY 29 - FRANKIES PIZZA, SYDNEY NSW AUG 1 – TRAINSPOTTERS, BRISBANE QLD

Catfish And The Bottlemen

Hellions

Yellowcard

Versus The World

Returning only 6 months after touring Australia supporting The Kooks, Catfish And The Bottlemen will return in July for two headline shows while they’re here for Splendour In The Grass.

Their debut album The Balcony was released last year and took out ‘Best Newcomer’ at the inaugural BBC Music Awards, while Billboard Magazine announced them as the ‘Number 1 New Artist in America’.

While they were here supporting the Kooks they won significant praise from critics for their lively and rich performances, being compared with the likes of Johnny Marr, The Cribs, Feeder and the Mystery Jets.

Sydney hardcore outfit Hellions have released a new video for their single ‘Nottingham’. The track is taken from their latest release Indian Summer, which debuted at #19 on the ARIA Charts.

The track is centred around the idea of jealousy and introspection and is paired with an equally complex clip, which closely follows the narrative of the track, depicting two people physically tearing each other apart. Hellions have announced an Australian headline tour alongside American bands Capsize and ’68.

With Special Guests Mayday Parade and Born Lion pop-punk legendaries Yellowcard are touring the country this July. Yellowcard have been radiating their pop-punk anthems for quite some years now, their sound continues to resonate through the generations, as they still perform some of the most energetic shows in the scene. Florida locals Mayday Parade have recently released their fourth studio album Monsters In The Closet which debuted at number 10 on the billboard 200 and number 2 on the independent label chart with their single ‘Ghosts’.

With such an influential line-up, the show will be one for the books for all pop-punk fans.

Versus The World have been added to the bill for the upcoming Good Riddance tour.

The band, which includes members of Lagwagon and The Ataris rose to prominence in 2005 with the release of their debut self titled album. Since then the Santa Barbara natives have toured throughout America with iconic punk outfits like No Use For A Name, MxPx, The Bouncing Souls and The Vandals.

Their latest album, Homesick/Roadsick will be released through Kung Fu Records later this month.

TOUR DATES JULY 22 – CORNER HOTEL, MELBOURNE VIC JULY 23 – OXFORD ART FACTORY, SYDNEY NSW

TOUR DATES AUGUST 19 - THE BRIGHTSIDE, BRISBANE QLD AUGUST 20 - THE LAB, BRISBANE QLD AUGUST 21 - THE CAMBRIDGE HOTEL, NEWCASTLE NSW AUGUST 22 - BALD FACE STAG, SYDNEY NSW AUGUST 23 - TOWRADGI SURF CLUB, WOLLONGONG NSW AUGUST 25 - MAGPIES, CANBERRA ACT AUGUST 26 - ARROW ON SWANSTON, MELBOURNE VIC AUGUST 27 - DING DONG LOUNGE, MELBOURNE VIC AUGUST 28 - FOWLERS LIVE, ADELAIDE SA AUGUST 29 - THE CIVIC, PERTH WA AUGUST 30 - YMCA HQ, PERTH WA

PG.10 // MIXDOWN #255 // JULY 2015

TOUR DATES JULY 4 - METRO CITY, PERTH WA JULY 6 - THE GOV, ADELAIDE SA JULY 8 - THE TIVOLI, BRISBANE QLD JULY 9 - UNSW ROUNDHOUSE, SYDNEY NSW JULY 11 - MARGARET COURT ARENA, MELBOURNE VIC

TOUR DATES AUGUST 7 – CORNER HOTEL, MELBOURNE VIC AUGUST 8 – MANNING BAR, SYDNEY NSW AUGUST 9 – CROWBAR, BRISBANE QLD AUGUST 11 – ENIGMA BAR, ADELAIDE SA AUGUST 12 – AMPLIFIER BAR, PERTH WA

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NEWS & TOURS

Chelsea Grin

The Jon Spencer Blues Explosion

Tex Perkins And The Void Of Vision Dark Horses

Metal heavyweights Chelsea Grin are still flying high following the release of their latest album Ashes To Ashes.

This latest release demonstrates the bands technical ability more than any other release, while maintaining a distinct groove and an infallible knack for melody.

Chelsea Grin are about to be giving Australian audiences a taste of Ashes To Ashes, touring alongside Melbourne’s deathcore purveyors Boris The Blade, who will be making their Australian tour debut of 2015 after a 65 date stint in the USA supporting the likes of Oceano and Sepultura.

New York garage icons The Jon Spencer Blues Explosion are heading back to Australia this August to promote their latest album Freedom Tower. The album, which is out now via Rocket, is a despondent mess, a sonic representation of the assorted fringe personalities that make New York City the infamous concrete jungle. The album was recorded in the Daptone House Of Soul in Bushwick and mixed with cult hip-hop figure Alap Momin. The Jon Spencer Blues Explosion has a unique relationship with Australia, predominantly due to Australia’s longstanding fascination with garage rock. The band’s bizarre performance on Recovery back in the 90s has gone down in Australia music folklore with a rock and roll demonstration that’s as energetic as any other you’re likely to see.

Iconic Australian frontman Tex Perkins has come together once again with the Dark Horses to release their highly anticipated third part of the trilogy, Tunnel At The End Of The Light. Following up 2011 self titled album and 2012’s Everyones Alone, Tex and The Dark Horses have produced another sonic landscape designed for deep thinking.

Harmonically woven through moody guitar rhythms, delicate vocal harmonies and tender lyrics the album will leave you with questioning Who am I? Why am I? Where am I? Mixed by Roger Bergodaz at Tender Trap Studios, Mastered by Steve Smart at Studios 301 Tunnel At The End Of The Light is out through Dark Horse/ Inertia Records on July 17.

TOUR DATES

TOUR DATES

JULY 16 - MILTON THEATRE, MILTON NSW AUGUST 13 – THE ROSEMOUNT HOTEL, PERTH WA JULY 17 - UNIVERSITY OF WOLLONGONG, AUGUST 14 – THE CORNER HOTEL, MELBOURNE VIC WOLLONGONG NSW AUGUST 15 – WRANGLER STUDIOS, MELBOURNE VIC JULY 18 - LIZOTTES, NEWCASTLE NSW AUGUST 16 – FOWLERS LIVE, ADELAIDE SA AUGUST 6 - THE ZOO, BRISBANE QLD JULY 19 - OXFORD ART FACTORY, SYDNEY NSW AUGUST 19 – THE SMALL BALLROOM, AUGUST 7 – MANNING BAR, SYDNEY NSW JULY 25 - DARWIN SKI CLUB, DARWIN NT NEWCASTLE NSW AUGUST 8 – SUPERSENSE FESTIVAL AT THE JULY 31 - REPUBLIC BAR, HOBART TAS AUGUST 21 – THE FACTORY THEATRE, SYDNEY NSW MELBOURNE ARTS CENTRE, MELBOURNE VIC AUGUST 1 - THE MEMO MUSIC HALL, AUGUST 22 – BRIGHTSIDE, BRISBANE QLD AUGUST 9 – REPUBLIC BAR, HOBART TAS MELBOURNE VIC AUGUST 23 – THE LAB, BRISBANE QLD AUGUST 11 – THE ROSEMOUNT HOTEL, PERTH WA AUGUST 7 - TANKS ART CENTRE, CAIRNS QLD

TOUR DATES

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After signing with label Eleventh Records, Melbourne post-hardcore outfit Void Of Vision have released their latest single/ clip ‘Sun/Rise’ which has received stellar reviews and feedback from fans and media. Entering the Melbourne music scene early 2013, Void Of Vision have been building their ambient heavy sound into their Debut EP Broken // Bones, where they have rapidly made their way amongst international heavyweights by supporting acts by the likes of Hand Of Mercy, Hellions, Elegist and many more. Vision Of Void are well on their way to becoming one of Australias top post-hardcore outfits and will be touring nationally this month with Melbourne band Ocean Grove.

TOUR DATES JULY 16 - ENIGMA BAR, ADELAIDE SA JULY 17 - DING DONG LOUNGE, MELBOURNE VIC JULY 19 - OLP, MELBOURNE VIC JULY 21 - RAD BAR, WOLLONGONG NSW JULY 22 - HOMBRE RECORDS, NEWCASTLE NSW JULY 23 - THE BRIGHTSIDE, BRISBANE QLD JULY 24 - THE LAB, BRISBANE QLD JULY 25 - MMRS, SYDNEY NSW JULY 26 - RED RATTLER, SYDNEY NSW

MIXDOWN #255 // JULY 2015 // PG.11

INDUSTRIALIST AMERICAN OWNER FOR STAGING CONNECTIONS?

One of the best known names in the Australian live music industry, Staging Connections, could end up owned by an American company.

The staging and services provider has been around in Australia for 25 years. It operates across the Asia Pacific with 750 staff working in 100 locations at over 75 hotels, leading venues and convention centres.

US events technology company PSAV entered an agreement to buy it subject to shareholder approval. SCGL managing director Tony Chamberlain said the proposed deal, “opens the door to broader technology offerings, resources and professional expertise” and allowed them “to offer our clients an international solution to all their event needs and an improved offering domestically.”

PSAV was set up in 1937 and employs 5000 staff in 1,400 resorts and hotels throughout the U.S., Canada, Caribbean, Mexico, Europe and Middle East.

AUSSIE ACTS CANCEL OVERSEAS TOURS

Sydney metal band Northlane singer Marcus Bridge needed surgery in Germany for an unspecified medical problem, which caused them to blow out some European festivals.

The Veronicas blew out a five-date US tour, which included festivals, after delays at US Immigration prevented some of their band members from getting their work visas in time.

Melbourne folk rock duo The April Maze had to blow out UK festival dates after singer and cellist Sivan Agam was hospitalised for emergency surgery for abdominal pain. The act was out of action for six weeks, and could not travel or carry heavy things (like cellos!) on doctor’s orders.

AUSSIE APP GIGGER FOR BANDS VENUES

Australia as usual punches above its weight when it comes to developing globally recognised apps. These include Perth-based David McKinney whose music discovery Discvr had 4.5 million downloads, and Melbourne guitarist and producer Barry Palmer’s soundhalo which lets fans download live concerts in real time and share the experience on social media.

Gigger was developed in Perth by a collective of sound engineers, musicians and promoters to make it easier for musicians to get gigs and play onstage.

The way it works is that acts register themselves on the site with information as style of music and where they’re based.

A venue wanting an act like theirs can

F or conte nt sU b mi ssi ons to th i s coL Umn PL e ase e mai L t o ceL izer@ net s Pa ce. net. a U

offer a gig with a single click. The band can accept within minutes. The app also does away with setlists, showing which of their songs is being played onstage and what’s coming up next in the set.

John Butler - The Seed Fund

the community creating multimedia footage for an installation at the Adelaide Biennial and says, “It was one of the most memorable experiences of my life. The wisdom and radiance of these people is humbling.”

Chiefs

APPLICATIONS OPEN FOR THE SEED FUND

In its eleventh year, The Seed Fund has opened applications to support emerging musicians, artists and arts workers via grants and workshops. Deadline is July 31. Go to www.theseedfund.org. This year its successful Management Workshop will be held in Melbourne in October.

An inaugural fundraising gig is due to be held in the same month. A Pozible campaign is set to run for the month of September.

The grants cover helping out managers if they are not earning while they are setting up a tour or album release, recoding artists to cut a track, the management workshop for 25, funding for mentors for a three day indigenous music workshop in the NT and new instruments for asylum seekers.

THREE SXSW MEET’N’GREET NIGHTS

With Australian submissions for South

By Southwest 2016 starting on June 29, three SXSW Meet ‘n’ Greet nights are announced. They are on Monday July 13 (Bar Open, Melbourne), Tuesday July 14 (Newtown Social Club, Sydney) and August 4 (The Globe Theatre, Brisbane).

The free sessions have a panel of SXSW veterans offering tips on how to get the best out of the meet from 6.30 pm, and a screening of the film Outside Industry about the history of SXSW, from 7.30 pm.

ANTONY DONATES FEE TO WA ABORIGINAL CAUSE

Antony donated her fees from Antony and The Johnsons’ two shows last month with the Tasmanian Symphony Orchestra at Dark Mofo festival to the Conservation Council of WA. It is inspired by her concerns for the Martu people in WA’s Pilbara region who live near where multi-nationals are digging for uranium.

In late 2013, she and Sydney media artist Lynette Wallworth spent time in

PG.12 // MIXDOWN #255 // JULY 2015

TWO SYDNEY AGENCIES JOIN FORCES

Kosher agency has taken on fellowSydney agency Audiopaxx’s bookings while it refocuses on management.

Kosher managing director and head agent Jon Debeere is “looking to the future in building one of Australasia’s strongest talent agencies.” Kosher grew out of tour firm Leibowitz & Weinberg and signed Dutch producer GANZ, electro pop Chela and beat-maker Chiefs. After a merger with Swerve Productions in June 2012, Audiopaxx moved from events to artist bookings; international tours and corporate activations.

MORE AUSSIES WATCHING VIDEOS ON MOBILES

More Australians are watching videos on their mobiles, says a report by the Interactive Advertising Bureau. The Mobile Video 2015: A Global Perspective found that video watching on mobiles went up by 33% since last year, 30% screen long term videos daily, and 14% watch less TV as a result. Music videos were an important content (13%) before sports (10%) and news (8%). 22% watched a TV show on their smartphone in the past three months and 21% watched a movie. Four out of five (77%) prefer free, ad-sponsored mobile video content. Most watched between 5 pm to 11 pm, 45% between 8 to 11 pm. 19% watched it going to and from work.

THINGS WE HEAR • Peter Garrett joined Paul Kelly and Gurrumul on stage at the 30th Barunga Festival in the Northern Territory for a finale of ‘From Little Things Big Things Grow’. The festival drew 4,000 people, a 30% rise from the year before.

• The latest incarnation of the Smashing Pumpkins includes Melbourne born Katie Cole on bass.

• Country music act Catherine Britt will continue her Boneshaker tour despite beginning treatment for breast cancer.

• Will Ferrier, frontman with Perth’s The Embers, will be a contestant on the next series of The Bachelorette Australia.

• As part of Melbourne’s Leaps and Bounds, Dave Graney and Clare Moore will be honoured as Living Legends at the Gasometer on July 12. Their vast catalogue will be interpreted on the night by a collection of admirers including Mick Turner and Jane Dust.

• University of Newcastle design students, animators and artists get the chance to create animation for Daniel Johns’ Going On 16 at the Newcastle International Animation Festival this month.

• The Country Music Association of Australia is polling its members to see if New Zealand names can also be included in its Golden Guitar awards. So far two thirds think it’s OK. • Scottish producer Hudson Mohawke let it slip he’ll be playing Laneway in 2016 • South Australia’s SCALA (Songwriters, Composers & Lyricists Association) announced that its annual FOOM (the Festival of Original Music Song Competition) is live again. There are six categories (including demo and live), enter online by July 16.

• The Australian Association of Campus Activities opened registrations for its National Campus Band Competition. Winners of state heats play off at the national on September 24 at Manning Bar at Uni NSW. Last year’s winner got $5,000. To enter, at least one band member must be enrolled at a participating university. Go to aaca.net.au.

• Activist group Collective Shout has written to Immigration Minister Peter Dutton to stop US rapper Tyler The Creator from touring Australia in September. It battles media content that it sees as misogynistic and encouraging violence against women.

It tried to stop his 2013 visit as well, and Snoop Dogg last year.

• Winter Jams is a workshop initiative by Music SA and Adelaide City Council for musicians aged 13 to 17 during school holidays. Over July 7 to 9 at St Paul’s Creative Centre, participants learn to write, record and film their music. July 10 marks the screening of their videos and presentation of a Certificate of Attendance.

• The late Jimmy Little’s successful Thumbs Up – set up six years ago to increase health and opportunities for indigenous children in remote communities through music and videos – could close in weeks if it doesn’t get Government funding. The Jimmy Little Foundation’s CEO Buzz Bidstrup says its application under the new Indigenous Advancement Strategy (IAS) was rejected.

He has been contacting politicians to address the problem.

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BE D1 TO COME TO TOWN

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PRODUCT NEWS GEAR

GOSS

Revelation Guitars RBJ67 Bass Guitar Bennett Musical Industries | (08) 9447 1765 www.bennettmusicalindustries.com

Ernie Ball Presents Capturing The White Buffalo CMC Music Australia | (02) 9905 2511 | www.cmcmusic.com.au

Jake Smith is the White Buffalo, the man who is a driving force behind the Sons of Anarchy soundtrack and an accomplished musician in his own right is the centrepiece of a new documentary series being presented by Ernie Ball Music Man. Jake Smith has released four critically acclaimed albums, and in this series we see Smith recording his latest release. From the inspiration behind the music to the writing and recording of it, we follow Jake through his process and take a look at what he uses to achieve his sound. It’s a unique look into the creation of an album and a series that’s well worth a look.

Head to www.ernieball.com to view the series and see for yourself.

You can check out the same Ernie Ball acoustic strings that The White Buffalo will be available to try and to purchase at the Melbourne Guitar Show on August 8 and 9 at Caulfield Racecourse.

Designed by expert luthier Alan Entwhistle, Revelation Guitars offer a range of models inspired by classic shapes, but fitted with electronics that give the instrument an entirely new attitude. Take for example the RBJ67, based on the classic 1967 Jazz Bass, this model features Chrome bridge and pick up covers, an Ash body, a Canadian maple neck and a maple fret board, while the Entwhistle JBXN pickups give the guitar plenty of power. These guitars are extremely well made instruments, especially given their price. Revelation Guitars aren’t currently available in stores. For more information or to purchase a Revelation guitar, get in touch with Bennett Musical Industries directly.

Revelation Guitars RJT60 12 String Electric Guitar Bennett Musical Industries | (08) 9447 1765 www.bennettmusicalindustries.com

Revelation Guitars have given a very different feel to a classic body shape with this reimagined Jazzmaster. The RJT60 is a 12 stringed Jazzmaster with an alder body, a Canadian maple neck, a rosewood fretboard and fitted with Alan Entwhistle pickups. This is one well built guitar that presents exceptional value for money. Right now these guitars aren’t available in stores. To get more information about Revelation Guitars or to purchase one, get in touch with Bennett Musical Industries.

Australian Institute of Music Open Days Australian Institute of Music | (03) 8610 4222 | www.aim.edu.au

The Australian Institute of Music is opening their doors again to prospective students in their mid year open day. They’ll be offering free workshops, masterclasses, live performances as well as course information. You’ll get the opportunity to peek inside and see what student life is like at the institute. Special guests, industry professionals, alumni, staff and teachers will all be on hand to help answer questions about AIM and the creative industries they teach in more broadly. Open days will feature course talks, instrument, vocal masterclasses, composition and music production workshops, plus talented student and staff performances.

AIM Sydney will be running their open day on Saturday August 8 and Melbourne will be running their open day on Saturday August 15. For more information visit www.aim.edu.au.

PG.14 // MIXDOWN #255 // JULY 2015

Ernie Ball Slinky Flatwound Bass Strings CMC Music Australia | (02) 9905 2511 | www.cmcmusic.com.au

They’ve arrived! Ernie Ball flatwound bass strings are now shipping.

For years, even though they love the feel of flatwounds, many bassists have opted to set up with roundwound strings in order to pull brighter, more cutting tones. Ernie Ball has changed that game.

Ernie Ball’s breakthrough Slinky Flatwound Bass Strings combine the smooth feel of traditional flats and the modern power and tone of Cobalts. Featuring a Super Bright Cobalt Ribbon wrap, Cobalt Underwraps and optimal hex-core to wrap ratio, the new Flatwound Bass strings are the first flat that can offer the feel of a genuine flat while sounding like a sound.

• Radial Engineering has announced the arrival of the Decoder, a self contained interface. The strength of the Decoder is how it makes stereo imaging in small studio setups simpler by combining a stereo mic with a second middle microphone. This level of stereo imaging has ordinarily required pulling together an MS patch using a traditional console, but the Decoder aims to make this possible with a plug and play interface.

• On top of that, Radial Engineering have announced that the JDX 48 Amplifier direct box is now shipping.

It’s the latest version of the JDX Reactor amplifier DI. Built with the class-A circuitry and transformercoupled reactive load that the made the original JDX so popular, the JDX 48 captures the sound from the amp along with the electromagnetic impulse of the loudspeaker, producing a more realistic reproduction of the sound than ever before.

• Allen & Heath is launching dLive, a next generation digital mixing system. It features a powerful FPGA processing core, plenty of expansion options, an ultra intuitive interface and super flexible architecture. It’s fitted with all the power and all the processing tools to feasibly carry out any job you throw at it, designed to take on the challenges of rigorous touring and festivals to operating in the worlds biggest and most prestigious venues.

• When the Indian Ocean tsunami decimated Southeast Asia in 2004, Linkin Park sought to use their influence to assist those in need. They founded Music for Relief, a charity aimed at uniting artists and fans to benefit those affected by natural disasters all over the world.

Recently Linkin Park, who have remained at the centre of Music for Relief teamed up with Sennheiser to provide several SKM 2000 wireless handheld transmitters with MME 865-1 capsules for an auction fundraiser. Some of items were signed by the band.

• Behringer have just released the latest version of the Andoid App for the X Air Digital Mixer Series. The app gives the user the ability to control all the mixing, processing and effects functions from their tablet or smartphone. The latest version of the app works with the X18, XR18, XR16 and XR12 mixers and the interface is able to be configured to make mixing and editing more accessible for amateur mixers, or more comprehensive for experienced ones.

www.mixdownmag.com.au

BE ST SE LL IN G

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Balanced combi jack inputs and link outputs  Mic or line operation with adjustable volume control  Contour switch for an even smoother sound  Signal/limit and clip indicator

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

Proudly distributed by Pro Audio Group (Australia) Pty Ltd | www.proaudiogroup.com.au

EU

SA

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PRODUCT NEWS

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

Catalinbread Talisman Reverb Pedal

TreeWorks chimes have just been added to the Dynamic Music percussion roster, furthering their reach over the percussion instrument market. Designed by musicians that were growing tired of the difficulties in finding quality chimes in a market saturated with poor products, TreecWorks chimes were founded in 1996. Today, these TreeWorks chimes are recognized by percussionists, orchestras and ensembles as the finest quality available.

Pedal Empire | (07) 3892 3292 | www.pedalempire.com

The Talisman Reverb from Catalinbead is a plate reverb effect pedal. For those of you who are unfamiliar with the concept of a ‘plate reverb’, essentially it’s one of the older forms of artificial sound reverberation used for recording. It involved a plate that’s reverberated in accordance with the signal from the transducer. It’s a simple concept, and it generated a reverb sound that prevailed in the era of analogue effects, until the market was flooded with digital reverbs. Plate reverbs were typically big and less portable than their digital counterparts, but now that’s not necessarily the case. The Talisman Reverb is 479.99% smaller than the leading plate reverb on the market.

With a goal to produce a genuine plate reverb sound within a manageable housing, Catalinbread have employed studio style sidechain effects that are routinely paired with plates. If you go back and listen to iconic reverb heavy 70s tracks from bands like Pink Floyd you’ll head the raw analogue beauty of the plate reverb in action. It’s a sound that we all love, however few of us have the space to keep a 2 meter long steel plate reverb unit in out homes, let alone have the ability to bring one to gigs. This is absolutely the pedal for lovers of that classic reverb sound.

Zoom F8 Multitrack Field Recorder Dynamic Music | (02) 9939 1299 | www.dynamicmusic.com.au

Zoom have earned a reputation as being the best in the business when it comes to building quality portable recorders in recent years, plainly because the quality of the build and the innovations they introduce with each model. The Zoom F8 multi-track field recorder featuring eight X Mic preamp inputs, eight gain control knobs, a level meter for each channel, USB ready 8 in 4 out audio interface and a wireless iOS Remote Control.

With the ability to rig it up to your camera, or use it alone, this field recorder will offer you everything you need, whether you’re looking to take simple sound recordings, using it for interviews, using it as a more complex interface or rigging it up to your camera.

They’ll be arriving in the country soon, so get ready.

VOX Amplification VL-L 1 Lil’ Looper Yamaha Music Australia | (03) 9474 1000 | www.voxamps.com

The new VOX Lil’ Looper is the ultimate loop station in a smaller and more portable package. It gives you more control and access to unprecedented new dimensions in live performance. It’s an intuitive unit that offers you infinite recording time using two independent loops and two pedals. The loops can be recorded independently and layered infinitely. There are twelve on board effects built into the pedal to morph and distort your loops to change the character of your instrument. Standard effects such as wah and delay are included, as are more unique effects like shutter and pitch shifter.

With a built in metronome and auto recording allowing the signal to trigger loops, this pedal is as usable as an explorative tool in the home as it is in the live setting.

PG.16 // MIXDOWN #255 // JULY 2015

Porter & Davies KT Platform Dynamic Music | (02) 9939 1299 | www.dynamicmusic.com.au

Porter & Davies have announced the launch of the KT Platform, a revolutionary base that comprehends your playing and transmits a signal via kinetic transfer, so the musician can hear and feel what their playing internally. Perfect for musicians that require a full and faithful transfer of their sound while their playing. There’s no delay, and the range of sounds is far broader than just a low end rumble. The KT Platform allows you to monitor your own instrument with unbelievable precision; even high frequencies and harmonies are entirely intelligible. This is a product that needs to be seen, or felt, to be believed.

www.mixdownmag.com.au

ABSOLUTE PERFORMANCE POWER Connect with your audience like never before. Groundbreaking FX automation and backing track playback sets you free to focus solely on your performance, while awe-inspiring vocal effects and rich guitar sounds run effortlessly by themselves.

From the first song idea to the execution of complex live arrangements, everything you’ve worked for comes together in VoiceLive 3 Extreme.

▸

NEW! 4x internal memory of VoiceLive 3 with USB import/export of loops.

▸

NEW! Backing-track import with fully synchronized FX automation and recall per preset

▸

NEW! Performance Recorder allows live 24-bit audio recording to a USB flash drive.

▸

Complete professional vocal and guitar FX paths, with next-gen Harmony processing and TC Electronic TonePrint sounds.

▸

Powerful 3-phrase looping lets you create and store entire songs on-the-fly

www.ambertech.com.au

|

sales@ambertech.com.au

|

1800 251 367

PRODUCT NEWS

Apogee and Waves Interface Bundle Sound Distribution | (02) 8007 3327 | www.sounddistribution.com.au

VOX Amplification New VX Series Amplifiers

Apogee and Waves products have partnered up to offer a package that gives you the very best in audio interfaces along with the best available audio plug-ins. Now, when you purchase Apogee’s Duet you’ll also receive a Waves Silver bundle of essential plugins, and if you go ahead and pick up the Apogee Quartet or Ensemble you’ll get the Waves Gold plug-in bundle. This is going to give you an easily expandable set up that offers greater scope over your production process. Waves is the leading developer of audio plug-ins, and they’re products are used by musicians and sound professionals the world over.

Yamaha Music Australia | (03) 9693 5111 | www.voxamps.com

There’s been a huge spike in the popularity of modelling amps since their inception into the market a couple of decades ago. Amplifiers built to give you greater scope to determine the tone and effects that are required to make a track as good as it can possibly be have been increasingly sought after, mainly due to their versatility and ease of use. Now VOX Amplification has introduced the VXI and VXII, a new modelling technique that issues improved sound quality and a more authentic playing experience.

Fitted with new and improved circuitry house in a redesigned enclosure, the new VXI and VXII amps give you greater performance and a greater overall sound quality.

Dunlop New Marcus Miller Strings Australasian Music Supplies | (03) 9545 1500 | www.austmusic.com.au

Marcus Miller’s unique playing style influenced a lot of modern bass players, so it’s not surprising to hear that he’s had a hand in developing his own line of bass strings. The Dunlop Marcus Miller strings give you a crisp and clear cutting sound with a powerful low end. As Marcus himself said “I finally have a set of strings that clearly translates what I hear in my head.” Available in four and five string sets, the Marcus Miller bass strings will give your more comfort and a smoother feel than anything else your likely to find that gives you a sound as bright as these.

Sennheiser SL Headmic 1 Sennheiser Australia | (02) 9910 6700 | www.sennheiser.com.au

Audio specialists Sennheiser have unveiled its new SL Headmic 1 presenter microphone: a high-quality condenser microphone with a weight of just 7 grams. Powerful and sturdy, the SL Headmic 1 uses the proven capsule of the omnidirectional MKE 1 broadcasting microphone, while its sleek, elegant design ensures that it is completely unobtrusive when worn. The SL Headmic 1 is easy to use and is connected to a bodypack transmitter via the 3.5 mm jack cable included. Alongside its high level of speech intelligibility, the SL Headmic 1 also features clear and pleasant trebles. The microphone can be optimally adapted to the shape of the head, and the microphone boom can be worn either on the left or right. Its modular design means that all components of the SL Headmic 1 can be easily and conveniently replaced. The professional-standard SL Headmic 1 ensures that speech and even music vocals are transmitted naturally and with their full frequency and dynamic range. This makes it the perfect partner for the corporate and hospitality sectors, as well as for live shows and broadcasting. The SL Headmic 1 is now available in black or beige. The set includes a windshield, a frequency response cap to raise the trebles when the windshield is being used and a soft case that can also accommodate a bodypack transmitter.

PG.18 // MIXDOWN #255 // JULY 2015

Australian Music Supplies - AMS New Distributor of Laney Amplifiers Australasian Music Supplies | (03) 9545 1500 | www.austmusic.com.au

Born in the West Midlands in the UK, Laney Amplifiers have been powering British rock and roll for nearly five decades. Founded by Lyndon Laney, who was playing in The Band of Joy with Robert Plant and John Bonham, Laney gained popularity in the early 70s with Tony Iommi of Black Sabbath quickly becoming a dedicated Laney user, recording with one on the bands debut self titled album. Since then Laney has grown to be one of the biggest amplifier manufacturers in the world. Australasian Music Supplies is proud to be the Australian distributor of Laney Amplifiers.

www.mixdownmag.com.au

PRODUCT NEWS

Alto Professional Kick 15 Instrument Amp Pro Audio Group Australia | (02) 9521 4844 | www.proaudiogroup.com.au

Alto Professional have continued to reinvent the very concept of what a keyboard amplifier should be. Built from the ground up with quality components, the Alto Professional Kick 15 Instrument Amp sounds and performs better than its predecessors.

The Kick 15 comes with 16 professional effects from Alesis, and each individual effect has 16 different variations giving you 256 separate presets to choose from, and a footswitch allows you to activate or bypass the effects channel instantly while performing. A super versatile instrument amplifier.

Alto Professional Live 1202 Mixer Pro Audio Group Australia | (02) 9521 4844 | www.proaudiogroup.com.au

The Alto Professional Live 1202 mixer gives you a high-fidelity sound and top notch DSP tools in a single package. The microphone channels are all fitted with high headroom and low-noise preamps to ensure pristine sound quality. With onboard analogue compression in the first four channels, you’ll be able to blend your mix with more precision than ever before with greater clarity. You can record your mix directly to your Mac or PC with a single USB connection, which makes this unit even more accessible still. The USB is bi-directional, enabling sound files stored on the computer to be streamed and played through Live 1202.

Glynt Productions Opens For Business Glynt Productions | 0466 483 413 | www.glynt.com.au

Glynt Productions is a music merchandise group that has united a motley crew of talented souls who share their genius and fuse seasoned abilities into a cauldron of creation.

Working with designers that are revered in the world of marketing and clothing, Glynt Productions has the capability to offer a level of creative experience that’s unparalleled.

The collective aims to conceive and produce unique promotional items and high quality garments that are tailored to the needs of the client by taking pride in and enjoying the creative and collaborative process. Glynt Productions can help you confidently broadcast your unique message.

Visual Sound H2O V3 Chorus/Echo Pedal EGM Distribution | (03) 9817 7222 | www.egm.net.au

The third instalment of the Visual Sound H2O pedal isn’t just another factory run off to keep the pedal in the market, it’s a thorough reimagining of one of the most prominent pedals of all time. The spirit of it’s predecessors still dwell within the V3, so you can still generate those classic tones, but on top of that comes added functionality. To give the chorus circuit more versatility, knobs for chorus/vibrato and tone have been added as well as a detune switch. This is the kind of pedal that will keep you exploring and perfecting your tone.

PG.20 // MIXDOWN #255 // JULY 2015

Neumann U47 Fet Microphone Sennheiser Australia | (02) 9910 6700 | www.sennheiser.com.au

When the Neumann U47 was first released in the early 1960s it was a valve microphone based on the Telefunken VF14m, but once tubes required to build the microphone were no longer available Neumann redesigned the U47 with transistors, and thus the U47 fet (field effect transistor) was born. It was a microphone that was quite popular in broadcasting circles and also as a recording guitar with guitars and bass guitars in an era where microphone performance was essential to the recording process as contemporary production processes hadn’t yet been employed. Today, in the midst of an analogue renaissance, the classic Neumann U47 fet is available again in production.

www.mixdownmag.com.au

TINY PEDALS, PRODUCT NEWS

Orange Amplification Crush Series Gibson AMI | (03) 8696 4600 | www.gibsonami.com.au

Though the Orange Crush amplifier range isn’t new in itself, it has recently been added to with the Crush 12, Crush 20RT, Crush 20 and Crush 35RT entering the range. The Crush amps bring the classic Orange tone and playability into the home with a more manageable size and power output. All of the new additions have simple controls, offering a basic 3 band EQ, while the Crust 20RT and Crush 35RT have the addition of digital reverb and all but the Crush 12 have foot-switchable clean and dirty channels. Perfect practice amp combos that are capable of delivering a classic Orange tone.

HUGE

SOUND.

EarthQuaker Devices Levitation Pedal Global Vintage | (02) 9569 7009 | www.globalvintage.com.au

In conjunction with the Levitation music festival (formally Austin Psych Festival), EarthQuaker devices have just announced the introduction of the new Levitation reverb pedal. A variation on the popular Ghost Echo pedal, but instead of attack and dwell controls is features decay, atmosphere and length to create space in their place. It’s a vintage voiced unit and aims to sit comfortably among the analogue reverb sounds. The spirit of Austin’s rich history of psychedelic rock and roll is well and truly alive in this little gem.

www.mixdownmag.com.au

PROUDLY DISTRIBUTED BY AUSTRALASIAN MUSIC SUPPLIES

MIXDOWN #255 // JULY 2015 // PG.21

PRODUCT NEWS Tc Electronic Polytune 2 Blacklight Amber Technology | 1800 251 367 www.ambertech.com.au

TC Electronic have previously introduced the Polytune mini in black with the Polytune Noir, but the full sized format of the pedal has always been white, until now. The TC Electronic Polytune 2 Blacklight has just been announced. A full featured Polytune 2, but with a metallic black finish. With the strobe mode being accurate to +/- 0.1 cent and the chromatic mode to +/- 0.5 cent, the Polytune 2 offers super fast and super accurate tuning.

It’s everything that you love about the Polytune 2, but with a bold new aesthetic.

TC Electronic Polytune 2 Clip Amber Technology | 1800 251 367 | www.ambertech.com.au

As far as clip-on tuners go, it’s hard to go past TC Electronic’s Polytune 2 Clip. A clip-on polyphonic tuner that has both a chromatic and a strobe tuner mode, flat tuning and also capo tuning modes. Built with a stainless steel clip, the Polytune 2 is durable and light weight, perfect for sitting on your headstock. Rarely do you see such versatility in a clip on tuner. These are ordinarily features that only exist in the pedal tuner realm, but when you consider that TC Electronic’s tuner range presently includes the Polytune, Polytune 2, the mini and the noir why would you expect anything less?

Sennheiser and Apogee Join Forces Sennheiser Australia | (02) 9910 6700 | www.sennheiser.com.au

Two of the most revered names in sound have announced a partnership that is sure to produce some outstanding products in the years to come. Microphone and headphone heavyweights Sennheiser have joined forces with renowned digital audio specialists Apogee Electronics to collaborate on forthcoming projects. Speaking about the partnership, Sennheiser Chief Operating Officer Peter Claussen said “Apogee and Sennheiser are a perfect fit. We both operate in the demanding premium sector, servicing professional and semi-professional audio customers across the globe. Out product portfolios perfectly compliment each other.” It certainly looks like a partnership that’s going to yield a heap of awesome products. See the Sennheiser Clipmic Digital, one of the first collaborations and check out our roadtest section for the full review.

Mooer Sparks Series Echo Jade Australia | 1800 144 120 | www.musocity.com.au

Mooer have a bit of a reputation for building pedals that are amongst the smallest in existence, but this new Sparks Series is something entirely new altogether. Still incredibly small, the Spark pedals are built in a square enclosure, with the knobs mounted at the top of the pedal leaving the switch as the only thing present on the face. It’s a great feature design wise, but also practically by keeping the knobs out of harms way when you go to frantically stomp on the switch. On top of that, the entire face of the pedal illuminates when the pedal is engaged, so it’s easy to see exactly what you’re doing. The echo effect itself is a warm delay, with up to 1000 milliseconds of delay time. The pedal also features a reverb effect that can be applied to the delay signal while leaving the dry signal intact, giving this pedal a real unique voice.

PG.22 // MIXDOWN #255 // JULY 2015

Audio-Technica Drum Mic Pack Technical Audio Group | (02) 9519 0900 | www.tag.com.au

The Audio-Technica Drum Mic Pack has absolutely everything you need to mic up your kit for studio and live applications. Featuring Audio-Technica’s Artist Series microphones, this pack offers high performance dynamic and condenser microphones that are durable and reliable enough to endure the rigours of heavy use. The pack also includes all the clamps and clips required to set this up in your desired formation. Right now the Audio-Technica Drum Mic Pack is on sale through Technical Audio Group, down to $2499 where it’s previously been valued at over $3500. For your chance to win this Drum Mic Pack, head to audio-technica.com.au/drumpack for details.

www.mixdownmag.com.au

A Legendary

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Developed with DJs. Built with passion.

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

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

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

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C O V E R

S T O R Y

Back in April, Refused unleashed ‘Elektra’, the lead single from their first album in 17 years, Freedom. While ‘Elektra’ carries forward the band’s agile, economical hardcore punk sound, it left some listeners a little baffled. On the one hand, it’s the sound of the Swedish punks taking a hearty step into the future, but it also harks back to ‘80s thrash and the likes of early-Soundgarden. Either way, one thing’s for sure – the band’s last release, 1998’s Shape of Punk to Come, might’ve become an unassailable part of hard rock history, and they weren’t interested in making a sequel.

“We sort of feel we need to prove ourselves as a contemporary band now – that there’s a point to us being around,” says drummer David Sandström. “It’s perfectly understandable that there’s talk on nostalgia, but it’s a concept that I’m not familiar with. It removes any sense of progress or uncertainty or any type of danger from the artistic process, which just makes things bland.”

Recorded in mid-2014, the majority of Freedom was tracked in Los Angeles with producer Nick Launay (Nick Cave & the Bad Seeds, Yeah Yeah Yeahs, Midnight Oil). However, the band also teamed up with young Swedish producer Shellback on two tracks, including ‘Elektra’. Given that Shellback made his name writing and producing songs for the likes of Taylor Swift, Maroon 5, Lily Allen and Pink, it’s a most unlikely partnership.

“In July [2014] we basically felt we had the songs written,” says Sandström. “So me and Kris [Steen, guitar] were like ‘Maybe we should let someone listen to this before we go to LA to record’.

We’d met Shellback and it turns out that he grew up listening to Refused and playing in metal/hardcore bands. So we just hit it off, and then, because he has a pop sensibility, we thought it would be interesting to see what he said about the songs.

“So we were getting ready to go to LA and suddenly I just get this email where one of the songs that we’d sent him – which was a six-and-a-half minute mammoth – he’d done his own version of it, recorded drums, bass and guitar in his own studio, and it was two and a half minutes long. We immediately thought that it was a better version than our song.

“The process in LA was brilliant,” he continues, “but when we got back home, we realised that particular song, ‘Elektra’, we hadn’t nailed it. So we decided to re-record the whole song back in Stockholm, and we had asked Shellback to produce it. He’s just so energetic, it’s almost painful – he’s so fucking passionate, you’ve got to run to keep up with him. We ended up doing ‘Elektra’ and ‘366’ in Stockholm with him.”

As odd as it seems, the decision to work with Shellback wasn’t

PG.24 // MIXDOWN #255 // JULY 2015

He’s just so energetic, it’s almost painful – he’s so fucking passionate, you’ve got to run to keep up with him. We ended up doing ‘Elektra’ and ‘366’ in Stockholm with him.

made flippantly. In truth, Refused weren’t going to welcome anyone into their creative world unless they saw some constructive benefit. Launay’s got decades of experience working with fiercely independent rock bands, and he excels at preserving individual quirks while also capturing an energetic, tactile sound.

“We had been discussing different people to work with,” says Sandström. “It was something about Nick’s work; there was a consistency of vibe throughout records that he made. We’re sort of an eclectic rock band. We have somewhat disparate influences – there might be a vibe of early speed metal/early Slayer to some songs and then there’s elements of hip hop on another song and then there’s some almost classic rock, Jimi Hendrix vibe somewhere. We sort of felt like we would need someone sort of old school that could give us a consistent sound throughout the record.

“Dennis [Lyxzén, vocals] and Kris both liked stuff that that he had done,” he adds, “and when Dennis and Kris agree… that happens once in a blue moon. So when they agreed on this one guy I was like ‘Yep – that’s the guy’.”

Once the band arrived in Los Angeles, their relationship with Launay flourished. Though, they didn’t exactly get comfy with each other. Launay had a job to do and he worked damn hard at it.

“He just lived and breathed that record for that entire period and he got more and more intense,” says Sandström. “During the recording we spent a week just playing the songs and he would write them down somehow in his notebooks and then he would have suggestions in the arrangements. We spent a week discussing and just being creative and he made some really important changes to the songs. We’d been working on those songs for years, but that month was revelatory. Things really started to happen once Nick got involved.”

For a record made in 1998, Shape Of Punk To Come has aged exceptionally well. Unlike many big records made at that time, the instrument sounds are quite organic, which has allowed the album to continue gaining new fans ever since its release. Sandström and Steen spearheaded the Shape Of Punk recording sessions, but this time around, they couldn’t argue with Launay’s sonic vision.

“He just thinks about things in a special way,” Sandström says. “It seemed he was on a whole other level. I hardly understood a lot of the choices he made, but as soon as we listened back to stuff, we felt that he was consistently making the right decisions.”

BY AUGUSTUS WELBY

Freedom is out now via Epitaph.

www.mixdownmag.com.au

I N T E R V I E W S

DEF LEPPARD When I speak to Phil Collen, I find myself in unusual surroundings. I am in a small, rickety house in rural NSW, sharing the landscape with around five hundred goats and an ostentation of peacocks. It seems fitting, in a surreal way, to be there and talk history and culture with a member of one of the most successful bands of all time. That’s no hyperbole – Def Leppard have sold over 100 million albums now, and albums like Hysteria and Pyromania are consistently listed amongst the best records, ever. Not bad for an act who are not only still successful, but after nearly forty years are performing stronger than ever. Collen talks to Mixdown about what first attracted him to the fledgling band.

“They were trying to do something a little different,” he recalls in a measured, Hackney/Californian hybrid. “What always happens – and this is something you can take to any genre of music, any art form, any movie, any book, anything that has even a slight modicum of success – is you get copies. What I liked about the guys from Def Leppard, even from the first album, was they were trying to attempt something a little different to all the others. I find nothing as boring as when everyone is just trying to make the same thing, so there was a spark there that I liked. But I especially think being openminded was important then. Particularly around Hysteria, which sort

CIRCA SURVIVE Circa Survive are headed back our way this September for a string of shows in support of their latest LP Descensus. The album came out in November 2014 and from a fan’s perspective it’s still a new exciting curiosity, but for the band, by the time the record came out they’d already been through the writing and recording process, endured a lengthy wait for its release and have since been on the road performing the material every night. Six months on from the release of Descensus, guitarist Brendan Ekstrom reflects on his relationship with the record.

“It’s a very different vibe in a way,” he says. “Some of the songs have a bit more of a raw, aggressive feeling to them, so that’s an interesting dynamic to add to our live set. Also we’ve been playing ‘Nesting Dolls’, which has kind of become my favourite song to play live. It’s kind of an emotional song and then we do some special sauce at the end to spice it up a little bit. I’ve been having a great time playing the songs and I know the band has too, and I can’t wait to play some of those songs over in Australia. It’s going to be great.”

The majority of Descensus was written in the studio, which was a new approach for Circa Survive. The Philadelphian fivesome have long portrayed an image of the whole being greater than the sum of its parts. Writing in the studio meant the individual members could be

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of fused and blended pop and rock in a new way.

Run–D.M.C. were also fusing sounds then, there were all of these really exciting music blends on the radio, and so we thought, why not see where that leads?”

Collen joined the group in the midst of recording their third album, Pyromania, and while Def Leppard were already a band on the rise it was this album that would topple all expectations; within a year they would be rated as favourite rock band over other seminal acts like The Rolling Stones and AC/DC, and one the way to securing the first of two Diamond certifications. The early Eighties was a vibrant time for stadium bands, and while there was inevitably great excess and darkness that accompanied many band’s trajectories, Def Leppard carved out longevity through a work ethic and appreciation for the art that Collen finds quite rare in music today.

“There was great music being made then. That time period was really quite symbolic, when the art form turned into a business. After that we lost a lot of the art. There were, and still are, a lot of great artists out there doing their thing, but it’s different. But we were right on the cusp of things changing, when it all became about image, and the MTV culture. It changed, and I don’t think it’s ever going to be like it was. That period was unique, and now it’s just another thing. I think it was a lot more important in people’s lives then, and now a lot of music is just a backdrop to other stuff. It’s a backdrop to ‘Hey, aren’t I sexy!’ The whole Kim Kardashian, Beyoncé thing. There’s a lot going on there, but it’s not really related to the art any more. It’s all of these other things, it’s all image.

But I suppose that’s just the new generation, and that’s all a reflection of it.”

If there is cynicism to Collen’s words, it isn’t entirely unfounded. For many performers today, image and self-promotion do indeed come at the

even more in sync during the entire process.

“We probably had five or six ideas before we went in and they weren’t really structured that well and they didn’t have the vocals,” Ekstrom says. “So when we went in, Anthony [Green, vocals] went with Will [Yip, producer] and they started hashing out some vocal ideas for those songs. Then the band just went into a room. I think, in a way, it was easier for us to all be equally involved in that environment. It was us getting together and then just saying ‘What are you guys feeling today?’ and then everybody starts playing and by the end of the day – literally five days in a row – we had a completely new piece of music for Anthony and Will to take a look at.

“At this point, after ten years, that’s one of the things that keeps us alive as a band and keeps us motivated,” he adds. “There’s still things that we haven’t done – we still have new goals and new boundaries that we want to push.”

Thankfully, five albums into their career, Circa Survive are yet to run into any serious creative inertia. Ekstrom’s respect for the talents of his fellow band members encourages him to never become complacent.

“As a fan of Anthony, early in the band I was just so in awe of what he was doing that it became really apparent the purpose for the band was to find a platform that we could do something that we felt was unique,” he says. “[Something musically] different enough that it was worth us being a band and to really give him a platform to reach people and deliver a lot of messages that I think are really powerful and help people.

“It’s always important to me to feel like we’re not repeating ourselves. At this point I don’t think we’ve done that to a degree that would make us feel stuck. As long as we’re all still on the same page with each other, then I think we’ll have some room to grow.”

However, it’s not all progressive, eyes on the future, for Circa Survive. To give Descensus a more

expense of the music, though Collen himself would be the first to acknowledge there are exceptions to the rule. He is adamant that that the motivation behind your music is key, and that if you are not working tirelessly at your art for the sake of expression alone, then you are in the game for the wrong reasons.

“We put so much effort into [the band]. I mean, if we’d put that work in and hadn’t succeeded, we’d have been really pissed off!” he laughs. “But it’s all about the work. For me, it was also a tool of expression. I learnt to play guitar, and to write songs. There’s a great thing about painting or poetry, music, whatever, just creating something, when you’re young. You lack the communication skills with other people then – with your parents, other people – and it allows you to let off steam like a valve. I never had much teenage angst because I was able to do that with the music.

Some kids can do that with sport, and then they get old and can’t quite do it anymore and so they don’t have that release. But the reward for me has stayed the same thing. I still get this amazing, monumental buzz out of creating something. I can still bring myself to tears writing something, coming up with some story and pulling it together like a jigsaw puzzle. It’s all about expressing yourself artistically, that is the reward. Everything else was gravy. You ask a lot of kids what do they want from it, and they go, ‘I want people to pay attention to me.’ And that’s an interesting thing.

Whether that’s parental or the culture right now, I don’t know, but it looks nasty to me. We’re in a pretty weird place.”

BY ADAM NORRIS

For a full list of November tour dates visit www.defleppard.com aggressive edge, the band members looked towards some of their formative influences. “We did a bit of tearing down and going back to a place that we were before Circa Survive even started,” Ekstrom says. “We’d all been through a lot before this record was written and there was definitely a sense of frustration in some of our personal lives and some anger and some things that we really needed to get out musically. I found myself listening to a lot of Nirvana and stuff that doesn’t really make you think of Circa Survive, in that we use a lot of effects and we use a lot of reverb and a lot of the stuff is sort of washed out on our records.

But I was just going back and listening to really raw music that made me want to feel that energy again, like Nirvana and old Soundgarden. That first Soundgarden record, that’s what I grew up listening to. And probably the Deftones and Tool; I think there’s definitely some Deftones influence on the newer record.”

The latest record’s embrace of raw energy and a touch of unkempt anger is a contrast to the band’s major label flirtation, 2010’s Blue Sky Noise.

“I have a great attachment to everything that came out from [Blue Sky Noise], and our experience recording it was really cool,” Ekstrom says. “But moving on from there, we needed to wipe that stuff out of our minds entirely and just do whatever the fuck we want and trust everybody else’s energy. I think we were all way more willing to do that on this record and [2012’s] Violent Waves than we were on Blue Sky Noise.”

BY AUGUSTUS WELBY

TOUR DATES SEPTEMBER 18 - THE MET, BRISBANE QLD SEPTEMBER 19 - THE METRO, SYDNEY NSW SEPTEMBER 20 - 170 RUSSELL, MELBOURNE VIC SEPTEMBER 20, 21 - 170 RUSSELL, MELBOURNE VIC

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I N T E R V I E W S were next door neighbours. It’s easier when you’re doing something with people that are close by, there’s no hassle or piss-farting around. So I met up with Matt again at the Gas, and we were on the same page to being with. I think ‘Collingwood’ is a nod to that, well not easiness, but just feeling incredibly lucky to live on Easey Street, basically.

We’ve had a lot of great times here, and the song was a semi-autobiography.

HIGH TENSION Melbourne’s High Tension have been tearing up stages across the country. Most recently they’ve joined King Parrot on their national tour and generally been living the life, living the dream and high-fiving every second bloke on Smith Street in Collingwood. Now they’re gearing up to unleash album number two, Bully. I’m sitting with vocalist Karina Utomo, fittingly enough, in a café in Collingwood on a Monday afternoon as she nurses a Bloody Mary. A member of the wait staff asks if the drink is ok, if it’s too spicy. “Actually it could be a bit spicier,” Karina responds, as the waiter goes to fetch more Tobasco.

What’s the deal with High Tension and Collingwood?

We live here, pretty much. Before High Tension formed, Ash and I we were in a band [Young & Restless] previously together, and after that band broke up we still stayed in touch. Eventually we said, ‘Fuck, let’s do something else.’ I told Ash I wanted to do something far more brutal than what we were doing. Ash is not a heavy music fan, but he loves to play guitar. With Collingwood, I always remember seeing Matt [Weston] at the Gas back in the day. I remember when we were looking for a bassist, I thought ‘Well what about Matt?’ I never really had chats with him so I hit him up on Facebook, and realised that we

TWENTY ONE PILOTS Twenty One Pilots’ second major label LP Blurryface came out in May. Since that time, the duo from Ohio have been very busy, both onstage and off. “In the so-called quiet time, when there aren’t big shows that we’re tweeting and instagram-ing about, there’s still a lot going on,” says drummer Josh Dun. “But it’s fun. I was thinking about it today; early on after high school when I was playing in different bands, I remember thinking ‘I would give anything just to be able to play three shows in a row’. I like when my calendar gets filled up and then there’s things to do. I think now, having a calendar actually completely full pretty much until 2016, it’s a pretty good feeling. As much as it’s crazy, I love being on the road and having things to do.”

Given the success of the band’s last LP, 2013’s Vessel (and its breakthrough lead single ‘Car Radio’), it’s fair to say Blurryface was highly anticipated. Twenty One Pilots – completed by vocalist/ songwriter Tyler Joseph – are signed to a big-name label (Warner subsidiary Fuelled By Ramen), and it’s inevitable that the label would insist upon a similar level of commercial success. Never mind that though, because upon its release, Blurryface exceeded expectations.

“When we were about to release this record, the people around us who work with us were starting to make projections,” Dun says. “I

PG.30 // MIXDOWN #255 // JULY 2015

Where did that urge to play heavier music come from for you?

From living in Canberra [laughs]. I have my theory about it. I grew up in Jakarta where there’s a big metal scene, which I think comes from the Javanese culture of passiveness, and being submissive. I think when you have that much submissiveness and forms of repression, that’s where heavy music thrives. But it’s all in a really positive way.

How did you make that leap vocally between Young & Restless and High Tension?

I think with Young & Restless, that time around mid-2000s when the band started, I only turned 18 a couple of years before, and because I lived in Canberra, all I did was go to hardcore shows and metal shows. I loved going to those, seeing bands like 4 Dead play, I was so blown away and thought ‘Fuck, I’ve gotta learn how to sing like that somehow.’ So I think Young & Restless, well it wasn’t an experiment, but it was the first go, trying to sing in that style. It wasn’t super purist, and High Tension isn’t purist either, but I wanted to play with hardcore bands, but that wasn’t the type of music we had. We still got to play with lots of rad bands. Since that experience and era, and being older and now having Damian and Matt in the band, what we like and what we get stoked about is much more aligned, so much more solid, and maybe that’s why it seems like such a big leap.

kind of like to stay out of that frame of mind. The business side of it – as much as I am involved with it, at the end of the day, going on stage and playing my drums, that’s what I love the most.

That being said, there are always conversations; our manager was like ‘I want us to try for a number one album,’ and then he was like, ‘here are some projections of what some other people think it might do.’ What I will say is that it’s already surpassed those projections.”

Indeed; not only did Blurryface reach number one in the Billboard charts, but the album also debuted at number 11 in the ARIA charts. For Dun, it took a little while before the significance of this achievement really sunk in.

“I didn’t even know what a number 1 US record meant, and I kind of didn’t care that much,” he says. “But then as I sat with that and thought about it, what I realised was that there were actually people resonating with this and kind of investing in it and making it their own thing, and that to me is amazing. There are people out there who are dedicated to spending some money on iTunes or going into a store and picking up a copy or even streaming it. That means a lot to us.

“The first time Tyler and I ever hung out, we stayed up until probably 8am sharing with each other our visions and dreams, musically,” he adds. “We were both just so on the same page. We both shared [the idea] that this whole thing could be bigger than ourselves or could potentially reach a lot of people.”

Blurryface was put together in a bunch of studios around the US with a collection of producers, including Mike Crossey (who’s worked with such crossover acts as Jake Bugg, The 1975 and Gaslight Anthem), Ricky Reed (of pop-hip hop act Wallpaper) and Dr. Dre collaborator Mike Elizondo.

Taking into account Dun and Joseph’s united creative vision, they weren’t going to let outsiders lead them astray.

On ‘Take Control’, you’re singing “I don’t know what success feels like.” Is that from the heart?

No, no. Ah, that song. Every other song on High Tension and Bully has been about positive reinforcement with positive themes. It’s never personal, but that particular song was the last song I wanted to approach. It was so different to our other songs, with these gross themes, with anxiety and depression, where you really hate yourself and addressing those concerns. When I proposed the idea to the guys I said ‘tell me if you think this is shit’, and they said nah. Especially for Bully, that song is about being a bully to yourself.

How did performing in between albums inform your approach in the studio this time?

It definitely did. All of the vocals for High Tension have been recorded with a handheld. The movement is just as important as the actual sound itself, there are certain sounds I can’t make unless I’m doing a lunge or something like that – I know it sounds dumb.

How does that work for levels?

It just works, the engineers make it work. We’ve tried using really good mics with a pop filter, but you don’t get the same level of performance.

We just try to capture that live energy, I know it sounds clichéd. We don’t want it to sound static in any way.

BY LACHLAN KANONIUK

TOUR DATES JULY 11 – HOWLER, MELBOURNE VIC JULY 17 – CROWBAR, BRISBANE QLD JULY 18 – NEWTOWN SOCIAL CLUB, SYDNEY NSW

Bully is out on July 10 via New Damage Records.

“The first thing that we had out was really finished in Tyler’s basement and put on iTunes, because it’s just easy to do that,” Dun says. “Then we signed with a record label and they were like, ‘It’s time to go into an actual studio with a producer and work with professionals.’ That was a really scary thing for us, because we’re both very particular and kind of specific, even down to sounds that are generated from a computer or maybe the structure of a song.

“We worked with four or five different producers on this album,” he continues. “We walked in with the songs already close to where we wanted them.

So from there, there are obviously ideas that a producer will bring us or talk about. [If we’re not feeling it], that can sometimes be an awkward conversation, but at the end of the day, it’s an album that we’re making and we’re putting out.

There were some times where we would leave a studio and Tyler and I would have a lengthy conversation about a decision that was made that day and be like ‘We’re going to be playing this song at least for the next two or three years.’ Thinking about things from a live perspective, it was a nice look at that sort of moment. We want these songs to be exactly what we want, because we’re the one’s playing them.”

Exactly right; there’d be nothing worse than spending years regretting a change that you didn’t really want to make. “We had a lot of good conversations with these producers and that got us to a place where these guys got to know what we were envisioning,” Dun says. “Then there’d be suggestions that they would bring up later that were a lot more geared towards what we wanted.

It’s always just good to be honest when you’re dealing with your art.”

BY AUGUSTUS WELBY Blurryface is out now via Fuelled By Ramen/ Warner Music Australia.

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I N T E R V I E W S

JAMIE XX The arrival of In Colour, the debut solo LP from Jamie xx, stirred anxiety in the hearts of diehard The xx fans.

Were the relationships among the group members in a state of decline? Did this mean that the producer/ percussionist (also known as Jamie Smith) was exiting the trio? Thankfully, these worries were soon alleviated, first by In Colour’s lead single ‘Loud Places’, which features the unmistakable vocals of The xx’s Romy Madley-Croft, and then the full album, which finds xx co-vocalist Oliver Sims taking the lead on ‘Stranger in the Room’.

While Smith confirms the band members are still the closest of friends, his solo debut was bound to eventuate sooner or later. “Pretty much since making the first xx album I’ve been working on this music,” he says. “The way that I ended up joining The xx is because I was making the backing beats on CD for them to play along to in bars and pubs – I wasn’t going to be on stage – but I was making my own stuff on the side at the same time.”

Smith’s production and drum programming has been an integral feature of The xx’s two incredibly well received LPs; 2009’s xx and 2012’s Coexist. But, while the band’s recorded work leans towards an organic indie-pop aesthetic, In Colour is indebted to classic UK electronic music. In this respect, ‘Loud Places’ and ‘Stranger in a Room’ are something of a revelation, exhibiting a complementary unity between Smith’s electronic production and his band mates’ vocals.

TIM ROGERS & THE BAMBOOS Perhaps no one could’ve predicted it, but when You Am I’s Tim Rogers teamed up local funk gurus The Bamboos on the 2012 single ‘I Got Burned’, they formed an incredibly effective union. Three years later, this unlikely partnership has given rise to the fulllength album The Rules of Attraction. It’s a wonderfilled journey exploring funk-soul, doo-wop and Exile On Main St.-era Rolling Stones, topped off by Rogers’ matchless charisma. Prior to the album’s release last month, Mixdown spoke with Rogers and Bamboos leader Lance Ferguson about the pair’s creative bond.

“I met Tim through playing guitar in Megan Washington’s band,” Ferguson says. “We got to talking about music we loved and we really found an instant rapport. Then I was like ‘Hey I think I’ve got a song that’s going to work for you, do you want to come in on this record?’”

“I found him very personally charming,” Rogers says. “I was knocked out thinking that I could ever get involved. I was really intimidated, and I generally only take on work things these days if I’m intimidated.”

Rogers’ intimidation stems from the fact he’s been an avid follower of The Bamboos since day one. “The original bass player was Stuart Speed, who was playing with me in the late-‘90s and a very dear

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“At the same time I was making my album, we were making the third xx record,” Smith says. “What my album has allowed us to do is work a little differently to the way we worked on the last two albums, and be a bit more open to the process in which we work and the sounds that might come out in the end. This next xx album has the potential to be a hybrid of my album and an xx album.”

In Colour features heavy use of samples, masterful programming and instrumental tidbits, plus Young Thug and Popcaan show up to add rhymes and melodies to the late album rejuvenator ‘I Know There’s Gonna Be (Good Times)’. Throughout, Smith steers clear of obvious hooks and song structures, and instead employs a minimalist touch that allows major impact to stem from small textural embellishments. It’s plain to see that countless hours of studio labour went into making In Colour. “[I’ve been working on this music] without the intention of it becoming an album,” Smith says.

“I needed to tell myself in the end that it was going to be an album, because that was the only way I was going to finish with this music and stop fiddling.”

While the majority of In Colour was produced in isolation, Smith sought out advice in order to get the record finished. “I still needed the help that Romy and Oliver can give,” he says. “Because we know each other so well, I needed them just to listen to it. Even just to sit next to somebody who you trust and listen to the album in its entirety, you don’t even need them to say anything because you can pick out all the parts that you are cringing at.”

The prospect of a Jamie xx solo LP has loomed ever since the release of We’re New Here in 2011.

We’re New Here – a remix album of Gil Scott Heron’s I’m New Here – not only drew attention to Smith’s underground electronic panache, but it grabbed him a fanbase in his own right. Meanwhile, the record’s positive impact also had certain side effects.

“I ended up DJing a lot, doing the circuit every Thursday till Sunday, being exhausted, and that actually hindered my creativity,” Smith says. “I was really happy it was well received, but I was almost not even aware of it because I was just working really hard and not doing what I love, not actually making music.

“Maybe after it was all over, then the fact that it was well received helped me,” he adds. “But I think it was more just growing up and getting the confidence. Like any other person going from 17 to 26, I’ve just become more confident in myself.”

Hefty workload aside, Smith’s extensive DJing commitments weren’t totally counter-productive. In fact, In Colour is structured to reflect the nature of his DJ sets.

“My favourite set to see is when somebody can surprise you and take something in a completely different direction,” he says. “Because the album is quite varied, I needed to find a way to do that, but for it to still sound like a coherent body of work.”

The remainder of 2015 will involve plenty of touring behind the record, as well as finalising the third, as-yet-untitled, xx album. Plus, Smith’s scoring a ballet adaptation of the Jonathan Safran Foer novel Tree of Codes, to be presented at the Manchester International Festival this month. It’s a pretty impressive outlook, which far exceeds what Smith anticipated while making the first xx album.

“I didn’t even think about the prospect of it actually being on a record, in a record store,” he says. “I just thought about putting all of this music that we had into a computer or something. I never thought that far ahead.”

friend who’s very sorely missed,” he says. “I’d seen them play at the Nightcat when I was behaving disgracefully. It’s rare that I say I’ve got a lot of respect for someone who’s a dear friend, but I really respected him.”

Conversely, Ferguson wasn’t much of a You Am I aficionado. “Although I was aware of his stature and presence and history to some degree as one of the great frontmen and artists of Australia, I didn’t really know the music that well.”

Along with impressing fans of The Bamboos and You Am I, ‘I Got Burned’ became a commercial success and remains the highest selling single of The Bamboos’ career. Seizing this momentum, in early 2013, Rogers and The Bamboos embarked on the Rock N Soul Medicine Show tour. The tour setlist included a few new collaborative numbers, which suggested an album would soon follow.

However, once the tour wrapped up, Ferguson moved onto another Bamboos album, Fever in the Road, which spotlights the vocals of Ella Thompson and Kylie Auldist.

“Just for the sake of the band, I wanted to make sure that we could be strong without having any of these guests involved.” he says. “[But] in the back of my mind I always had this idea that it would be great to do a full length record with Tim.” When the time came for getting started on the album, the pair were adamant about evenly sharing the creative resposibilities. Given that Ferguson’s led The Bamboos since 2000, it made sense for him to handle the instrumental details. “I was building these demos,” he says, “which had the whole form of a song without vocals and sending them to Tim just as sketches. Then the things that Tim responded positively to, I would work on a bit more.”

Accordingly, Rogers took care of the words and melodies. “I wrote most of the lyrics when I was in New York with my daughter,” he says. “I’d walk her to school and then it took about two hours to walk back to where I was staying. So I was sort of dodging traffic and waiting until the bars opened

and just making up things in my head.”

The record largely comprises feel-good funk-soul numbers, which are complemented by its lively production quality. “We didn’t have any prerequisite moods going into this,” Ferguson notes.

“It just turned out that a lot of the tunes are fairly upbeat. But that tour was an upbeat, raucous, rocking kind of affair. I did want capture some of that element in there.”

When Rogers returned from the US, he went straight to Ferguson’s Yarraville studio to track the vocals. Ferguson’s taken part in countless studio collaborations over the years, and he’s learned to not be a perfectionist. “I’m looking for a great performance,” he says. “I’m not such a stickler for things like, ‘If it wasn’t recorded on a ten thousand dollar mic, we have to re-record it.’ In this day and age things recorded on a shitty mic can end up being made to sound really good. With this record, a rawer aesthetic was actually even better.”

As a result, the majority of vocal takes on the album have survived from the demo recordings.

For Rogers, Ferguson’s relaxed production approach came as a surprise.

“I thought he’d be a lot more methodical,” he says.

“But when we got to work together, after a couple of days I realised I could just be goofy and he’d let me do that and then we could knock it into something OK. Being asked to join and collaborate with someone you respect so much and a band that you just fucking adore, I didn’t want to fuck it up.

I remember when Davey [Lane, guitar] got asked to join You Am I, his big thing was ‘I don’t want to fuck up one of my favourite bands’. That was my feeling with the ‘Boos. I’m very thankful that he just let me be who I am.”

BY AUGUSTUS WELBY

In Colour is out now through Young Turks/ Remote Control Records.

BY AUGUSTUS WELBY, PHOTO: REBECCA HOULDEN The Rules of Attraction is out now through Atlantic Records.

MIXDOWN #255 // JULY 2015 // PG.31

I N T E R V I E W S

THE MELBOURNE GUITAR SHOW This August, Melbourne will host a guitar festival like no other. Australian guitarists and enthusiasts will have the opportunity to get up close and personal with the instrument as the Melbourne Guitar Show brings together manufacturers, players and performers from a range of styles and levels of expertise. Mixdown caught up with Festival Director Rob Walker to find out more.

Tell us about the motivation behind setting up the Melbourne Guitar Show?

The guitar is the world’s most popular instrument and we want to celebrate it. The members of the Australian Music Association want to inspire and excite the public about playing music, by presenting the best products, the biggest brands and the best players all under one roof.

What is your history with the instrument?

I got my first guitar as a teenager, and I still love playing it, but the bass has been my lifetime (so far) passion. I still play professionally and regularly. The 1973 Fender Jazz is my favourite, but I love a 1980 P Bass Special, a Noyce Dolphin 5-string, a Music Man Stingray and a Taylor AB1 acoustic as well.

What educational workshops and seminars are available?

There is a great opportunity to learn stuff from our clinicians – all weekend there’ll be product clinics and workshops featuring the likes of Steve Mackay, Brett Kingman, Phil Ceberano, Jimi Hocking, Marcel Yammouni, Shannon Bourne, Lloyd Spiegel, James Ryan, Simon Hosford and many more.

Who is the Guitar Show aimed at?

Guitar (and ukulele) enthusiasts who want to see, try and buy the latest products as well as some interesting vintage items. It will be the biggest “pop-up” guitar store in the southern hemisphere – open for business for one weekend only this year – for anyone who’s into guitars, this is the event for them. Music lovers will also love the Melbourne Guitar Show with a killer line-up of players performing all weekend on two stages, in many different guitar styles and genres. There will also be two workshop stages, free lessons, tips and tricks from the professionals. From beginners to professionals; there will be something for everyone.

What can prospective players expect to learn over the weekend?

They can see first-hand how the professionals do it – both in performance and in clinics and seminars – they have the opportunity to learn from the best.

There’ll be several guitar technology sessions, how to get great tone, cutting edge amp technology and talking boutique pedals. They might see what goes into building a guitar or learn about how to play a style like metal or bluegrass.

How many exhibitors will be there?

We’ll have about 50 exhibitors among them, the major suppliers and brands, local and interstate retailers, local guitar and ukulele makers, local custom amp makers and a decent collection of vintage to see and buy.

What sort of performances and special guests can we look forward to?

The Melbourne Guitar Show will host the best of the local guitar scene. There are multi-award winners and superb up and comers in our line-up of artists.

From Jeff Lang, Lloyd Spiegel and Fiona Boyes, to Racer Axe, Nat Allison and King of the North, Wayne Jones, The Davidson Brothers, Geoff Achison and Jimi Hocking - a line-up of performances and clinicians not seen at a Melbourne guitar show before.

Who are the teachers?

The short course teachers are extremely active in the music industry. Many of them are recognisable artists who have a passion for music and education.

A few of our teachers hold residencies at some of the most well-known and exciting venues in Sydney and Melbourne. One of our teachers just released a pop music EP that’s gaining independent radio play.

These teachers aren’t your after school tutor – they have fresh ideas and are super current.

A.I.M SHORT COURSES There are plenty of us out there eager to get our hands dirty and learn how to produce, edit, write and play music, but are simply too time poor to take on a full time, or even part time study load. That’s why the Australian Institute of Music has introduced a collection of short courses. To enable people to get some hands on experience with some accomplished working musicians and get the fundamentals down so they can work on their own material in their own time. We sat down with AIM to learn a little more about these short courses, and what makes them so worthwhile.

What are the short courses available?

AIM offers courses in Ableton, DJ’ing, Logic Pro, Pro Tools, Songwriting, Music Production for the songwriter, Music Theory, Vocal Skills, Instrument Skills, Music Business, Dance and more.

Where are the short courses located, and what facilities are on offer?

The short courses are located at the Australian Institute of Music in Sydney and Melbourne. Both campuses are close to public transport and feature state of the art facilities and equipment.

PG.32 // MIXDOWN #255 // JULY 2015

What makes AIM short courses different from others?

AIM short courses are specially tailored to the students in each class. They are not ‘cookie-cutter’ classes. The teachers adapt and mould the content based on each student’s interests and goals, along with what is current in music at the time of the course.

What is the process and requirements for enrolling?

To enrol in a short course, you will need to complete and hand in an enrolment form, along with a 20% deposit payment (to secure your place in case the course fills up) by the deadline for that particular session.

Are there any prerequisites, or combinations of prerequisites that are preferred?

The short courses are available for students of all levels for anyone 17 and older. From the songwriter with decades of experience, to the novice producer, or for anyone who is just looking to have some fun and try something new; there is something available for everyone.

What is the size of the average class?

Anywhere between 4 – 12 students.

What type of products will be available and can punters expect a good deal?

There will be guitars at the event that punters might have only seen online, or who knows, maybe even the world. The exhibitors will be dealing on the weekend. There will be amps, FX and accessories, print and learning resources.

There’ll be a group of Australian makers of fine instruments and custom amplifiers. And there’ll be a fine collection of vintage instruments and amps, including a 65 Hofner Beatle Bass Signed by Sir Paul, a rare Rose Morris 12 string Rickenbacker used

by George Harrison on the 64 Beatles tour and a rare 1952 Fender Telecaster to name just a few.

The Melbourne Guitar Show will be held on the weekend of August 8 and 9 from 10am - 6pm at Caulfield Racecourse. Visit www. australianmusician.com.au/melbourne-guitarshow for all the details.

How are the classes structured? What teaching methods are used?

The short courses are very hands on, focusing on practical applications. While the first half of each class is usually a lecture component, the second half consists of students doing what they came in to learn about. They are able to show the class and teacher what they are working on and get valuable feedback.

What is the average duration of a short course?

Most of our short courses are 6 weeks, although we also offer a few weekend intensives and one-off workshops.

How many hours per week on and off campus?

The six week short courses are once per week for 2 hours in class. The amount of time put in outside of class will differ for each student – it’s very much self-directed. Even if students only put in the 2 hours per week minimum, they will gain valuable skills and knowledge.

Are the hours flexible?

The short courses have set days and times, but are from 6-8PM on weeknights, which is perfect for anyone who works during the day.

What are the costs of your short courses? $385 inc GST. We offer an instalment option which splits the payment in 2 – the first half is paid 1 week before the course begins, and the second is paid half way through the duration of the course.

To learn more about the Australian Institute of Music short courses visit www.aim.edu.au

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C O L U M N S

UNLEASH YOUR INNER ROCK GOD Practicing without your axe

I’ve just moved house and for a guitar junkie who plays all the time either for fun or for work it’s been tough. For the last few weeks most of my guitars have either been in cases ready to bring over to the new house, or in cases already in the new house, but inaccessible behind a bunch of boxes full of things yet to be unpacked. It’s been killing me. So many times I’ve had a song idea or even just that unspecified urge to pick up a guitar and make race-car noises, and I just haven’t been able to.

Thankfully things are starting to get back to normal now and I’ve found a few pockets of time to pick up my Les Paul or my Bass VI or my Telecaster for a bit of musical therapy. But I noticed something kinda interesting: although my fingers are a little weak and my calluses are a bit soft after not playing much for a while, on a creative level it feels like I’ve never stopped. Thinking back on it I realised I’ve been practicing guitar in my head for weeks. So I thought it might be fun to discuss ways of practicing when you’re away from the guitar. Here are some things that have worked for me.

Finger Exercisers

You’ve seen these, right? Various brands make them: little handheld contraptions with four spring-loaded buttons that you press to keep your fingers in fighting shape when you’re away from the guitar.

Many of them even have raised ridges to simulate strings so that you can maintain your calluses. I’ve had one of these for years and I find it especially helpful when I know I’ll be playing a lot of acoustic soon and I need to build up my finger strength. Some of my guitars have very light gauge strings and I usually play with a very light touch (although I do have a few with 10-52 in standard tuning which I wallop), and if I’ve been playing those for too long the heavier strings of an acoustic can be an instant finger killer.

Mini Neck Simulators

Shredneck comes to mind: this is a simulated guitar neck complete with strings and a span of around seven frets for practicing your scales and licks when you can’t have a full guitar with you.

Shredneck makes all sorts of models including 6-string, 7-string, acoustic, classical 4- and 5-string bass, and even a ’12-24 fret’ version which gives you a whole octave’s worth of frets to noodle about with. I don’t actually own one of these (yet) but I’ve tried them out and they seem like a really great practical solution to when you need to practice quietly. It’s not designed to be a sound generating device (and pretty much forget about actually tuning it) but it’s great for getting those digits moving and practicing your scale patterns. There’s space for you to pick so you can maintain your left and right hand coordination too.

Any Surface Will Do

When I was in high school I read a lesson with Eddie Van Halen in Guitar World where he demonstrated the tapping figure from the song “Judgement Day,” which requires the index and middle fingers of each hand tapping a specific sequence which moves up the neck. At first it felt really unnatural, but I was obsessed with this bloody solo so I tapped that pattern on every freaking surface I could find.

My desk, the counter at the tuckshop, a ruler and before long I was able to play that solo. Now, many years later, that pattern is still burned into my muscle memory. I’m sure it gets annoying to the people around me when I’m sitting there impatiently drumming my fingers in 64th notes.

Guitar Pro

There have been times when I’ve been able to sit at the computer but not able to sit behind a guitar, so in those cases I’ve composed riffs and melodies in Guitar Pro notation software or even by drawing in the MIDI edit window on my recording software. Each approach brings something different. Guitar Pro lets me use my ‘guitarist brain’ to write riffs that fall within the same visual patterns I use to find my way around the fretboard, and it’s relatively easy to write things that sound like me. The MIDI edit window lets me write things that are based purely on the musical intervals, freeing me from the trap of being ‘too guitaristic.’ Either way, when I do finally get a guitar in my hands I have a whole vocabulary of new riffs and licks to try, some of which are in the style of what I would normally write and some of which are things I never would have thought of if I was thinking in terms of frets or specifically guitar-driven melodies.

Visualising

Sometimes I’ll just picture what I’d be playing on guitar if I had one with me, whether I’m stuck in traffic, going for a jog, standing in line at the supermarket or tuning out while someone really boring is talking to me. We all do that, right?

BY PETER HODGSON

PG.34 // MIXDOWN #255 // JULY 2015

WHAT’S THAT SOUND? The Classic Collection

Yes, there are all number of software emulations available that try to mimc the great synthesizers from over the years, and plenty of new software builds that deliver sounds that are just as powerful.

But, I think we can all agree that there is something to using and better still, owning, a classic synthesizer. With that first synthesizer purchase, a collection tends to get started, for it’s never really enough to own just one. Once you get a taste of vintage sound wrapped up in a wooden ended steel chassis, you generally want more. So, what should you look for when getting started on a classic synth collection? And perhaps more importantly, when do you stop?

What To Look For

There are so many possibilities available when you start looking into vintage synthesizers, and knowing what will work for you can be tough. I think the two most important things to look for when getting into a synth collection are usability and uniqueness. Let’s consider usability first. You don’t want to go investing your money into a synthesizer that’s hard to program, or really needs other synths with it to work properly.

Many electronic music producers think they want a Roland TB-303 more than anything else, but they don’t really think this through. It’s a lot of money to invest in a synth that does very little by itself and even when utilised fully, really only works well as an acid machine and doesn’t offer a great deal of versatility. You want to get good value and the ability to get a lot of use from the first couple of keyboards in your arsenal before you start heading towards the more selective pieces that offer a very narrow sonic scope.

The other thing to consider is uniqueness.

There’s no point shelling out your hard earned dollars to buy a synthesizer that does exactly what your software is doing.

It needs to be different, and needs to bring something else to the sound that your existing arsenal of software synths doesn’t give you. This is true in not only your first but each synth that follows as your collection grows. Each synth needs to offer something different; otherwise they serve no real purpose other than being noisy museum pieces.

What Is The Perfect Number?

I have often maintained that the correct amount of synthesizers one should own is calculated by taking the existing amount owned and adding one. Seriously, once you get going on a synthesizer collection, there is no clearly defined stopping point. You begin to seek out weird and wonderful synths and peripherals to network your existing synths in new ways.

Then the game of Tetris begins as you have to start making room for each new keyboard or rack unit to be added to the hoard. At some stage, a re-evaluation of the collection becomes necessary.

What you need to realise is that most of these classic synthesizers you will have purchased would have been second hand, so someone enjoyed them and found the ability to let them move on to a new home eventually. So, at some stage you too should consider letting some of your collection move along. I go with the rule of thumb that suggests if I do not use a synth in 24 months, it could be getting better use elsewhere and I look for a new owner. This way, my world of classic synthesizer sounds doesn’t get stale with the same units being turned to over and over again. And the keyboards that I no longer get good use out of can find a new lease on life with a different owner who will no doubt get as much joy from the sounds they have to offer as I once did. And so, the life cycle of the classic synth continues for many to enjoy and appreciate. I must sound a little like a madman by this stage, but let me assure you, if you do head down the synth collecting path, you will completely understand where I am coming from. One cannot simply hoard synthesizers, they need to be used and they need to inspire creation in their function and sound. If a synthesizer stops doing this, it will surely be better used elsewhere.

I write this after having cleansed part of my studio of a number of classic keyboards and rack units that sadly were not getting the use they deserved. But, at the same time, I now have a fresh outlook and find myself back at the start of the process all over again in search of a new classic synthesizer to fill the gap in my sonic palette. And so, the search continues as I ask myself, what is that sound that I am missing?

BY ROB GEE

www.mixdownmag.com.au

C O L U M N S

[D]IGITAL [J]OCKEY Flight Deck

In my years working in and around the DJ scene, I have seen plenty of changes to how music is presented, delivered and performed for an audience. These changes have been driven by innovations that continue to push the boundaries of design and creativity with the needs of the DJ in mind. When I first hit the decks, you had a pair of Technics 1200s or you weren’t serious. That was it, vinyl was the go and you didn’t dare attempt to achieve the same results with CDs. Well, how things have changed.

The Digital Revolution Continues

The vinyl stalwart eventually gave way to digital recordings due to the ease of transport, size and quality of reproduction in the late 90’s. The main reason for this media beginning to appear in the clubs was the development of new decks that now made it a very workable format.

Pioneer changed the DJ world with the introduction of the CDJ, and it wasn’t long before this had been pushed onto newer versions and other manufacturers began to release similar devices. This issued a new era of DJ styles where the CD player was used with a traditional mixer much like turntables were. Though, everything was all to change again with the inception of computer software and controller decks as CDs got phased out for hard drives and USB portable media. This is where we find ourselves today, with a host of all-in-one consoles designed to integrate with a laptop computer or hard drive and work as a self-contained system. Until this month… with the release of a new deck.

Back To Modular

As the digital console revolution seemed to be well ensconced in the complete unit, the modular setup was slowly disappearing. The idea of choosing the decks you wanted with the mixer you preferred almost felt like a thing of the past when you looked at the product line-ups of many manufacturers. Native Instruments were one such company that developed an all-in-one concept and revolutionised the market with their Traktor platform. Now, they’ve developed and new deck, a break away from their other systems and a compliment to their Z2 digital mixing console that seemed to be lost amongst the other products they offer. This month I got my hands on some of the first release Traktor D2 decks to land in the country and I am rather excited with the possibilities these present. At first, I thought we were just looking at a compact single channel

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S2 style system without the jog wheel, but it’s so much more than that basic idea. What the D2 brings to the plate is a system to works like NI’s flagship S8 console, but split into a single deck so you can use it in a modular format. It can run standalone, or as a pair or in a more complex setup with other devices too.

This now feesl like the old days of working with two decks and a mixer, but you are not limited by the linear recording of a CD or LP. You have all the freedom to create, remix and perform with your sounds just as you would with the Traktor S8 console, but you are free to work it easily into a varied setup.

The full colour display delivers most the information you need to work without the need to reference your laptop. When you consider the limited information that was delivered on the display of some of the earlier CDJ consoles, the D2 seems mind-blowingly intuitive. Because of this, you get the information relay and the browsing capabilities of working on a laptop, but you get the feel and workflow of just dealing with a physical deck. The computer can be safely tucked under the bench in the DJ booth, it really only needs to act as an engine and transport for your audio stream.

Speaking of the audio stream, the D2 is taking DJ mixing to a whole new level with the use of Stem mixing. These audio files split the tracks up into four elements, such as bass, drums, vocals and melodies. Now, instead of simply mixing and editing a stereo track, you can pull the sounds apart and work within the four elements for more complex mixes and greater creative freedom. This is going to change the way digital DJs work.

This is going to redefine how a live mix is created. This is the next step towards total freedom in the club and a world of new sounds. Just wait until you here what will come from the Traktor D2 in its many possibilities. I think we are at the beginning of something big here.

BY ROB GEE

HOME STUDIO HINTS Recording Cajons

I have said it before and I will say it again, the cajon is like the ukulele of the percussion world, not that there’s anything wrong with that. It just seems that everyone wants to get onto a cajon at the moment, just to have a bit of fun, and why not? You can get a quality instrument for an appropriate price and you don’t have to study for years to develop your skills. So, that’s why I thought I’d talk about how I went about recording with a cajon over the past month.

Experimental Chaos

First of all, let me point out that I am by no means someone who fits into the group of ‘skilled cajon players’, but that didn’t stop me from seeing what I could get out of this instrument in a recording session.

Having some sense of rhythm and a vague idea of what I like to hear, I found myself experimenting in a number of ways with the cajon in my humble home studio. So, let’s first consider that my technique is not the greatest and that may well be the case for many of you who are considering getting some beats tapped out at home.

If you are like me, an unskilled player, try a few things out and see how the cajon behaves on all surfaces and at different points with a different touch. Experiment with the tones to begin with, it may start out sounding like a bit of a mess, but you’ll quickly find a groove that works with the music you’re recording. It’s really quite addictive, and you’ll soon find yourself getting carried away and off track a little. So, let’s get back to the reason we are here and consider how to record this unique instrument.

Location, Location, Location

It is all about finding the right location for you microphones. Firstly, I found setting up on carpet or a rug delivered a better result than working on a hard floor.

It calms the environmental reflections and gets you a drier recording. You can always add some reverb in later if you want it. So, set up in a carpeted room, I went about placing microphones all around to see what came good onto disc.

The first microphone was a Sennheiser e602, usually used for kick drums, which I placed at the port of the cajon. The was quickly adjusted to be slightly off to the side of the port and angled in at about 45 degree to reduce the ‘chuffing’ sound that I got when I worked straight on and up close. This will vary from one

cajon to another as the ports will behave differently, but it pays off to belt out some deep hits and quickly record them with the microphone in a few different locations and angles. I use some gaffer tape on the floor to mark out these locations and then listen back to them all. It’s easy to the place the microphone in that sweet spot from then on out.

With the low end sorted out, I wanted to get some real sizzle from the sides of the cajon and also try to pick up some of that snare sound too. The difficult part about doing this is you need to consider how you will be straddling the instrument and where your limbs are likely to flail about when playing it. This, unfortunately, rules out some really great microphone positions when it comes to getting in close. So, I opted for a large diaphragm condenser microphone placed a little further back to give me the room to move and still capture the sizzle on the cajon’s surfaces. An SE Electronics X1 was employed, a much underrated microphone indeed and the results with a little adjusting were great.

Finally, I couldn’t help but slide an SM57 in as low as I could on a short boom stand pointing up and along the front face of the cajon. This sat neatly between my legs and didn’t get in the way at all.

What the old classic Shure microphone offered was a third flavour to the various tones you get with these boxes and it sat quite well between the other two mics in the mix. With these three microphones to choose from in the final sound, I was able to get all the colour I wanted and plenty of dynamic range too. This did not make up for my poor timing and so some serious editing was required later on to help it fit with the other parts in the recording, but we needn’t discuss that now.

BY ROB GEE

MIXDOWN #255 // JULY 2015 // PG.35

C O L U M N S

BANGING THE TUBS

ON THE DOWNLOW

Beyond The Notes

My job puts me in some interesting situations. On one hand, I’m a drummer, and I’m fortunate enough to make music with some seriously fantastic musicians. On the other hand, I’m a teacher, trying hard to turn young drummers into fantastic musicians. Drumming isn’t all about coordination, chops and patterns. The musicality of a drummer is so important. When do you start seeing a budding drummer turn into a musician? For me, it’s when you think about playing beyond the notes.

Please Explain

This is a debatable subject, and I’m sure there’s going to be people who disagree with me here. However, over the years drummers have come and gone. Some remain as influential and respected as they were when they were active. They’re considered masters of the craft and they are a source of inspiration for aspiring drummers. These are the guys that your teachers have told you to study. The kind of guys who remain relevant long past their time. But what do they actually offer that’s different from the next guy?

Musicality, and bags of it.

Perspective

Now, I know this is a little cliché but let’s look at Steve Gadd for a second. He’s highly respected, immensely influential as a drummer and someone who’s played with countless musicians on hundreds of recordings. The man is a legend. But why?

If you analyse one of his solos, you can see licks and phrases that have been used for years, and it’s easy to say statements like “oh yeah, that’s that same old 6-stroke roll again.” However, whilst there are drummers that seem to be reinventing the wheel with chops and coordination that would put Gadd to shame, there’s still something about Gadd that leaves us wanting more. That’s what I’m talking about. Gadd has the ability to play exactly what’s required, when it’s needed and with such conviction and purpose that, when you allow yourself to understand it, it’s actually quite frightening just how good it really is. Whether it’s a groove or a fill, there’s always a feeling of musicality and finesse. Where it sits in the bar, on the beat, in front or behind it, the intensity, the tuning, the sound - it all contributes to the end goal of making music. Dare I

say it, there’s just a formidable passion for the instrument that’s damn hard to replicate, let alone improvise with. The chops aren’t necessary present all the time. They’re there when they’re needed, but it’s not the sole purpose and it’s not important enough to take over for the goal of conveying an emotion.

Another drummer who comes to mind here is Jeff Porcaro who went down in history for saying that he had never played, nor would he ever play a drum solo. He thought that they were pointless because the drummers job was to keep time and groove. From a musicality perspective for recording or playing a “song”, he has a point. At this stage you might think that Jeff didn’t have any chops, but those in the know who had the opportunity to see him out of context of being a session drummer would tell you otherwise. He had blinding chops, but didn’t show them off because it wasn’t necessary. All we have are snippets but perhaps this makes it exciting too. Don’t forget that to immerse yourself in a Porcaro groove can be life changing. He has frightening feel and an immense authority for where he places things.

So here I am, as a drummer starting to feel things differently and as a teacher, trying to bark at the students, trying to stress upon them the importance of checking out drummers like Gadd and Porcaro. Alas, they’re still just in it for the chops at the moment. Perhaps that’s ok; perhaps it’s an age thing. Maybe, just like me, they’ll learn to understand it when they’re a little older.

BY ADRIAN VIOLI

PG.36 // MIXDOWN #255 // JULY 2015

Bass Fuzz

I’ve been listening to a lot of stoner rock lately, as well as a lot of these post-Detroit bluesy/Sabbathy bands, and I’ve found myself really falling in love with their bass tones. There’s something gloriously primal about the bass-driven riffs and fat tones cranked out by bands like The Shrine, Graveyard, Red Fang and Rival Sons.

It’s got me thinking about bass distortion and bass fuzz. I personally tend to think bass distortion sounds best when it’s mixed with a clean sound as well: sometimes the perfect blend seems to be a mix of clean tone for the low frequencies and distorted tone for the mids and highs. However, with fuzz I like to just crank it and let it be the sole source of the sound. Here’s some stuff to take into consideration when dialling in a fuzz tone.

Silicon Or Germanium?

The first thing to consider is what kind of fuzz pedal to get. Fuzz pedals most commonly come with either Germanium transistors or Silicon ones, and each has its own benefits and weaknesses.

I tend to think of Germanium as being the equivalent of an EL34 power tube or an Alnico V magnet in a pickup. A little saggy in the low end and a little warmer - while Silicon reminds me of 6L6 power tubes or ceramic pickup magnets: tighter in the low end, more aggressive in the highs and a little colder in attitude. If you want your bass to really cut through in the upper mids and high end, and if your band requires more precision and punch, consider a Silicon fuzz. If you want something more rounded, boomy and all-out fuzzy, Germanium might be for you, especially if your band is generally after a more vintage, boomy, bottom-endy sound.

Tone Control

I sometimes find fuzz pedals kind of frustrating because you can dial in a sound that is absolutely perfect at home, with everything you ever wanted from a bass sound, but as soon as you get it up to concert volume it’s lost. So my loose rule is that whatever sound seems to work great in isolation typically needs a little more edge to cut through when combined with a band. You can get as simple or as complex as you like with this. Sometimes it’s simply a matter of tuning the tone control up a little. Sometimes you might need to apply a lot more EQ to emphasise the frequencies you were enjoying but which were getting swallowed up by the other instruments. Some rooms might be more forgiving than others. Sometimes a good engineer can fix the problem for you at the mixing console, while other times you’re on your own, especially at smaller gigs, so you have to handle it yourself. Just be aware that fuzz is a temperamental beast.

Dynamic Processing

Similar to tone, sometimes when you get your bass into a band situation you have to give it a little bit of a kick to get it to stand out. Some fuzz pedals have plenty of attack but the note trails off too quickly, while others are all-out saturated from the beginning. A compressor can help you cope with either of these situations. If you clamp down on the attack time and boost the sustain you can beef up the tail end of the note, giving you a more solid sound that will hang in there when playing longer notes.

Or if your sound is a little too muffled and lacking in attack you can compensate by lengthening the compressor’s attack time a little before it clamps down on the note. In these cases it’s best to place the compressor after the fuzz in your signal chain. Many fuzzes react in unpredictably weird ways depending on what’s placed before them in the signal chain, so you could either get some really cool results or some really bad ones if you run a compressor into a fuzz pedal.

Pickup Selection

Some fuzzes are particularly reactive to the input signal while others don’t seem to care what you’re putting into them: pretty much the same sound comes out either way. If your fuzz pedal is the former, I tend to like using the neck pickup for fuzzy bass sounds. And usually if I’m using the bridge pickup it’s just blended in with the full neck sound for a little bit of additional attack. And if you’re experimenting with an octave fuzz effect like an Octavia, these track best when they’re presented with a very deep, rounded sound so back off your tone control as well and you may find that you’re getting a lot more of those ringing octave overtones.

BY PETER HODGSON

www.mixdownmag.com.au

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WEBSITE www.ambertech.com.au www.austmusic.com.au

(02) 9905 2511 (03) 9817 7222 (03) 9474 1000 (02) 9817 2173 (02) 9569 7009 1800 144 120 (02) 9582 0909 (03) 8696 4600 0458 336 521 (07) 3892 3292 (03) 9693 5111

www.cmcmusic.com.au www.egm.net.au www.elfa.com.au www.guitarfactory.net www.globalvintage.com.au www.musocity.com.au www.jands.com.au www.musiclink.com.au www.noisetoysimports.com.au www.pedalempire.com.au www.yamahabackstage.com.au

MOOER PURE BOOST EFFECT: BOOST | RRP: RRP: $109.95 | DISTRIBUTOR: JADE AUSTRALIA

SOUND AND VERSATILITY: Clean and quiet, the Pure Boost keeps a handle on your fundamental tone and adds some dB in its simplest form. You can then push the Gain and EQ if you want colouration – handy for targeting frequencies to stand out in the mix for solo passages or emphasising pickups.

Can also tame a hot signal or crazy amp if needed.

RECOMMENDED FOR: Recording or performing bass players of any style. Basically, if you play bass, this pedal is for you!

Enhance control - and great gain and compression capabilities. If you can’t find your sound in here you need your hearing checked.

SOUND AND VERSATILITY: With more controls than most amps, there’s nothing this pedal can’t do, it can manage everything from smooth cleans to aggressive overdrives, to snappy and punchy slap-and-pop tones to squelchy fuzz tones. It’s very responsive to your individual bass’ signal.

CONSTRUCTION: Despite its small size, you can still access every control and they all feel seriously stage-ready. The bypass button feels very chunky and stompable, but you’ll probably never use it because there’s no reason to turn this pedal off.

USEABILITY: There are so many controls on this pedal that it could be easy to feel overwhelmed, but the layout is very logical and easily accessible. There are five different toneshaping features - six if you count the

OVERALL: Whether for recording or performing live, this tiny little box takes the place of a preamp, EQ, compressor and overdrive pedal all at once. It’s essentially an entire rig that you can stash in a gig bag or the pocket of your jacket.

PG.38 // MIXDOWN #255 // JULY 2015

USABILITY: Clearly marked and easy to operate. I possibly might have gone for the Volume control as the big knob rather than Gain but that’s just personal preference.

CONSTRUCTION: A tough little tank of a pedal (like the rest of the Mooer line) it’s got plenty of stomping in it for sure. No batteries for these mini pedals however so make sure you’ve got a power supply handy.

RECOMMENDED FOR: Rock, country and good with acoustic and electric guitars.

OVERALL: Great as a straight ahead boost the EQ controls then opens up some extra tweakbility if needed (and often things can change from gig to gig/room to room). Again, small and simple so another good pedal to slot into a crowded board or for keeping in your guitar case to call on when needed.

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PEDAL SPECIAL

MXR CUSTOM SHOP Il TONINO OVERDRIVE EFFECT: OVERDRIVE | RRP: $239 | DISTRIBUTOR: AUSTRALASIAN MUSIC SUPPLIES

WAY HUGE SAUCY BOX OVERDRIVE EFFECT: OVERDRIVE | RRP: $249 | DISTRIBUTOR: AUSTRALASIAN MUSIC SUPPLIES

inclusion of three bands of EQ and the use of a boost/OD mode select function.

Boost mode gives you a cleaner, more compressed sound while OD mode gives you an amp-style response. Either way, this pedal’s greatest strength is its clear, smooth, sonorous and warm tone.

snap alongside your growl, howl and roar.

It’s very responsive to different phrasing techniques and picking strengths (and especially pickup type and selection), and the overall sound has a bit of a ‘boutique amp’ feel.

USEABILITY: The balance of clean and dirty sounds is very intuitively implemented and it allows you to use this pedal for everything from a clean boost right on up to an amp-like overdrive for rhythms and solos. The passive tone control is thoughtfully voiced to be usable across its range.

USEABILITY: The sheer range of sonic sculptability means you can endlessly tweak the controls to find your tone. It also means you can sometimes get a little lost amongst all the options, but hey, variety is never a bad thing as long as you remember to stop tweaking and start playing.

RECOMMENDED FOR: Anyone who wants more control from their overdrive and is more into smooth, organic sounds other than processed or saturated ones.

SOUND AND VERSATILITY: Designed in partnership with Carlo Sorasio, Italy’s premier boutique amp and pedal builder, this is a very boutique-feeling pedal which stands above most other overdrives with the

CONSTRUCTION: A nice chunky pedal that’s in it for the long haul, although the Boost/OD switch would feel more sturdy as a toggle and the controls are pretty close together which makes it feel like you could bump one while changing its neighbour.

OVERALL: A great all-rounder for different musical situations, but with an emphasis on smooth, singing tones rather than filthy hairy dirt. The three band EQ really expands the pedal’s flexibility for matching the musical mood.

BOGNER ECSTASY BLUE EFFECT: OVERDRIVE | RRP: CONTACT FOR PRICING | DISTRIBUTOR: EGM DISTRIBUTION

CONSTRUCTION: A typically solid-feeling pedal, as is Way Huge’s style. The stomp switch has a satisfying chunkiness and the knobs are easy to grip. The position of the Tone control is a little hard to see though.

RECOMMENDED FOR: Anyone seeking an amp-like feel from an overdrive, be it for blues, rock, alternative, country, or even for metal players to drive an already raging amplifier.

SOUND AND VERSATILITY: The key to this pedal’s particular brand of magic is the discrete clean and overdrive signal paths, which are blended via the Gain control, so you can get clarity and

OVERALL: A great overdrive for players who really wring as much as they can from the guitar itself instead of relying on several dirt pedals for different textures. The clean and drive blendability means it can do different things in different kinds of rigs.

WALRUS AUDIO MAYFLOWER EFFECT: OVERDRIVE | RRP: $229 | DISTRIBUTOR: GLADESVILLE GUITAR FACTORY

through for a bit more crunch with humbuckers. The Mayflower has a great clean transparency running through it that feels like it’s retaining a little bit of your clean tone at all times.

USABILITY: It’s easy to get cracking and pump out the tones. A little bit of dialling and you’ll find some sounds that work for you. It can also be stacked if you want to add some grit to your other favourite pedals.

RECOMMENDED FOR: Rock, pop, funk and players wanting more of a classic type OD tone.

SOUND AND VERSATILITY: Coming from Bogner’s highly revered Ecstasy amp, this is the pedal summation of the ‘Blue’ channel. On the edge of slightly hairy tones through to bigger and more mental ones, the Blue can do classic rock in a pinch. A wide range of gain sounds are possible with the Blue making it a versatile unit indeed, and whilst Rock might be its main calling, I could see it sitting on plenty of different pedalboards.

USABILITY: Rock solid and featuring the Ecstasy

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CONSTRUCTION: Hip and trendy in looks, the Walrus line of pedals keep up in the style stakes as well as feeling tough enough to take a heap of stomping.

amp chicken head knobs, the Blue pedal definitely takes its kicks from its amp based brother. Easy to stomp and fiddle as a start, there is then a heap of options with switches for Variac, Mode, Pre Eq and Structure as well as your normal EQ and levels. The added Boost function is super handy too.

CONSTRUCTION: Love the looks, size and shape of the Ecstasy pedals. Anyone who’s seen or played an Ecstasy amp will instantly recognise the look.

OVERALL: Killer pedal, great tones on board and useful features. Boom!

RECOMMENDED FOR: This pedal is mainly aimed at indie, country, rock and pop players.

OVERALL: This is a solid offering from the Walrus Audio team. The Mayflower can sit in a few camps for edgy and broken through to gainy. It works with a range of guitars and has enough scope to cover most of your OD needs.

SOUND AND VERSATILITY: From light OD to mid gain, the Mayflower sits somewhere in the middle of the gain tree. It sounds nice with single coils for broken chords and riffs, or pushing

MIXDOWN #255 // JULY 2015 // PG.39

PEDAL SPECIAL

MOOER THE JUICER EFFECT: OVERDRIVE | RRP: $199.95 | DISTRIBUTOR: JADE AUSTRALIA

CATALINBREAD DIRTY LITTLE SECRET EFFECT: OVERDRIVE | RRP: $239.95 | DISTRIBUTOR: PEDAL EMPIRE

is great with chords and single notes.

It could be a go to for rock and pop but would also suit other genres needing a natural, vintage type OD pedal.

leads, even high gain settings remain smooth and harmonically rich. This is a very responsive pedal that reacts well to dynamic playing. Just like a vintage Marshall, this pedal cleans up nicely when rolling down the guitar’s volume knob and an internal switch offers both Super Lead and Super Bass emulations.

USABILITY: Easy to navigate with EQ controls of Low and High, an overall Level control and most importantly a big yellow Juice knob right in the middle.

USABILITY: Designed to react like an amp, the controls include a master and preamp dial to get cranked tones at a manageable volume. Treble, middle and bass controls make it easy to find the sweet spot where that iconic throaty mid-range begins to shine.

CONSTRUCTION: This is a tough little tank of a pedal just like the rest of the Mooer line. It’s got plenty of stomping in it for sure. No batteries for these mini pedals however so make sure you’ve got a power supply handy.

RECOMMENDED FOR: Rock, pop and blues.

OVERALL: Mooer’s hark back to the DOD FX51 Juice Box, The Juicer is also the signature offering for rock shredder Neil Zaza. A cool pedal that has a nice vintage feel with some sheen on it. Great for power chord chugging or single note lines and a mini pedal size means it will easily squeeze onto a already overloaded pedal board or stash in our guitar case/gig bag.

RECOMMENDED FOR: Those who want the classic Marshall sound in a flexible package. Nails the Plexi tones of the 60s, from Pete Townsend to Eric Clapton.

SOUND AND VERSATILITY: Useful nearly all around the dial, the Juicer gives you what the name suggests - juicy and slightly broken tones through to rock type more saturated sounds. This

SOUND AND VERSATILITY: The Dirty Little Secret does a mighty fine job of recreating Marshall tones, and can be used to effectively turn the amp of your choice into a towering stack. Capable of moving from light crunch to saturated

BOGNER BURNLEY

RED WITCH IVY

EFFECT: DISTORTION | RRP: CONTACT FOR PRICING | DISTRIBUTOR: EGM DISTRIBUTION

SOUND AND VERSATILITY: A higher gain pedal the Burnley has plenty of headroom and level on tap.

Fat and chunky it’ll do rock open chords, solo shred and hi gain squeal. Great for heavier styles of music, it still has a nice

OVERALL: This is the next best thing to actually owning a vintage Marshall. It gives you the all the vibe of a genuine Plexi, without the chiropractic appointments that will inevitably come from lugging it to gigs. Highly recommended.

EFFECT: DISTORTION | RRP: $180.99 | DISTRIBUTOR: MUSIC LINK AUSTRALIA

EQ that projects through a mix rather than fizzing out into mush. Humbuckers and single coils work and you can back the Gain off for a tough and more vintage vibe if needed.

a big fat grind. It’s especially suitable for really aggressive, biting, gargantuan heavy metal tones rather than smoother, more vocal voices. It thrives on highoutput humbuckers and actives.

USABILITY: As a high gain type effect it’s easy to get around with controls for Level, Gain and Tone. There’s also the Fat/Tight (F/T) switch which toggles between tighter, more aggressive tones or fat and slightly warmer sounds. With plenty of usable sounds that are easy to find, it’s more of a twiddle and experiment situation.

USEABILITY: With no tone control, you’re somewhat limited in the scope of your tones.

The controls are pretty close together which is to be expected on a pedal of this size. The convenience of the handy rechargeable Lithium Ion cell battery makes up for it though.

CONSTRUCTION: Very tiny and compact, but pretty easy to see on stage considering how small it is. It can quite literally fit in your pocket, and some players might even consider duct-taping one to their guitar for something a bit different.

CONSTRUCTION: Reinhold is quite the fashionista, and the Burnley looks the part. It comes in a purple, almost stone-ish looking top, or a wooden Burbinga top, and a cool steel/silver casing designed to conjure up the look and feel of a 60s vintage mixing console. Looks great and feels tough.

RECOMMENDED FOR: Rock, metal, indie and higher gain users.

CONSTRUCTION: The Dirty Little Secret not only sounds great, it looks fantastic too. Top quality assembly is featured throughout and dials are accented with glow in the dark markers to ensure they remain visible on even the darkest stage.

OVERALL: These Neve equipped pedals run the gamut from clean and pristine through to lots of gain, with the Burnley sitting at the latter end of the spectrum. Usable settings and lots of level mean you can really work the Burnley with your own rig to find a setting that suits. An awesome collaboration between Rupert Neve and Reinhold Bogner.

PG.40 // MIXDOWN #255 // JULY 2015

RECOMMENDED FOR: Anybody looking for mountains of distortion in a compact package. Also for those who don’t want to deal with batteries and power supplies.

OVERALL: A great metal distortion, not terribly flexible in terms of tonal range but does what you expect it to do.

SOUND AND VERSATILITY: This pedal is capable of a huge range of gain levels, from subtle edge and bite to

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PEDAL SPECIAL

JIM DUNLOP JIMI HENDRIX BAND OF GYPSIES FUZZ FACE

MC SYSTEMS BWI DYNAMIC FUZZ EFFECT: FUZZ | RRP: $215 | DISTRIBUTOR: CMC MUSIC AUSTRALIA

EFFECT: FUZZ | RRP: $219 | DISTRIBUTOR: AUSTRALASIAN MUSIC SUPPLIES

USEABILITY: This pedal allows you to call up different fuzz levels depending on how hard you stomp on the switch, which makes for a very dynamic experience for the player and audience alike. There are also two separate boost levels which let you hit your amp harder or softer for different saturation textures, or they allow you to select different volume levels for rhythm and lead.

USEABILITY: The interactivity and responsiveness of the circuit makes this pedal much more versatile than the simple control layout might imply. As with any Fuzz Face, you won’t miss the absence of a tone control.

Despite its small size, the controls are far enough apart that there’s no risk of nudging one when you’re turning the other.

RECOMMENDED FOR: Vintage tone freaks and Jimi Hendrix fans primarily, Anybody who craves filthy, fat-toned fuzz with authentic traditional responsiveness. There’s a special emphasis on players who prefer smaller pedals for more compact boards.

SOUND AND vERSATILITY: At the furthest reaches of the Fuzz dial you can expect a huge, gelatinous, squelchy fuzz tone right out of the 60s.

It’s an extremely dynamic pedal, the entire sound changes in response to even slight turns of the guitar’s volume knob, and even more so to tone knob.

CONSTRUCTION: The tiny, tuna-can-sized enclosure feels pretty beefy despite its lightness. You’ll definitely want to secure it to something because it’s so light it can be dragged around easily by the cable. The battery door on the bottom is easily accessible.

OvERALL: This pedal offers an easy ticket to Jimi Hendrix-style fat fuzz tones but you don’t need to be a Hendrix fan to appreciate or use it in your own music.

It’s ready for indie, alternative and stoner styles as well as classic rock and blues.

EARTHQUAKER DEVICES FUZZ MASTER GENERAL

CONSTRUCTION: A very solidy-built pedal which is created in the knowledge that the feature set encourages you to stomp on it pretty hard in the course of regular use.

RECOMMENDED FOR: Fuzz fans looking for something that keeps up with their performance.

Whether you play vintage rock, modern rock, industrial or stoner rock, and especially if you require more than one flavour of fuzz.

OvERALL: This pedal achieves something pretty rare by being utterly unique in a crowded fuzz market. It does all sorts of things that other pedals simply can’t do, by becoming a part of your performance and by encouraging you to play with it rather than through it. Plus it sounds great.

SOUND AND vERSATILITY: A very versatile fuzz with a wide range of fat and edgy tones which respond with sensitivity and dynamics to your picking strength or your pickup selection. It’s especially friendly to vintage-output single coil pickups and P90s.

VOX TRIKE FUZZ EFFECT: OCTAvE FUZZ | RRP: $249.99 | DISTRIBUTOR: YAMAHA MUSIC AUSTRALIA

EFFECT: FUZZ/OCTAvE FUZZ | RRP: $255 | DISTRIBUTOR: GLOBAL vINTAGE

behaviour. The Trike recreates this well.

Around the 12th fret upper octaves and overtones begin to cascade into a blistering lead tone. The fuzz itself ranges from a compressed buzzsaw to a thunderous roar, with loads of gain on tap. Either one or both octaves can be dialed in, while the tone is controllable too. The fuzz can’t be activated separately to the octaves, but the Trike does a great job of bringing these effects together.

compressed, the standard fuzz settings are super cool. You can get vintage raw tones or more scooped and industrial and there’s a lot of volume on tap. In the octave fuzz setting you can pull out the lasergun-esque, psychedelic vibes that work great with single notes in the higher registers and then freak out (in a cool way) when played with multiple notes.

USABILITY: There’s a big range of fuzz available with the germanium and silicon ‘voice’ options. These react differently to dynamics, guitars, pick/fingers, rig and pedal order so it will take some experimenting, but the control layout is easy to navigate.

CONSTRUCTION: Solid and built for gigging. Also, they have to get bonus points for the top mounted jacks which are great for saving space on a tight pedalboard.

RECOMMENDED FOR: Rock, indie, experimental and punk players mostly, but really anyone who’s a fan of classic fuzz sounds.

SOUND AND vERSATILITY: Loose and raspy or tighter and

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OvERALL: Germanium fuzz, silicon fuzz or octave fuzz in one package – all with a range of usable tones that’ll expand your palette and ideas. Fuzz can be an interesting effect to get your head around and to fit into your rig. The Fuzz Master General does a damn good job.

USABILITY: Due to its extreme character, you won’t be able to break this pedal out in all situations. However, as a unique pedal that can add something special to a solo or riff, the Trike will have you covered.

RECOMMENDED FOR: People gunning for huge riffs and ear splitting solos. Those who are looking for a middle ground between Jimi Hendrix and Jack White.

SOUND AND vERSATILLITY: The Trike offers a ripping fuzz made more potent through an octave up and down effect which can be blended in to taste. The charm of vintage octave effects is their unpredictable and glitchy

CONSTRUCTION: Like the rest of Vox’s Tone Garage series, the Trike is sturdy in all the right places.

Aesthetically, the chicken head knobs and visible circuitry are a nice touch.

OvERALL: This is a dynamic pedal with a lot of attitude. The octave function and its unruly nature adds up to a whole lot of fun, while providing something different than a standard fuzz pedal.

MIXDOWN #255 // JULY 2015 // PG.41

PEDAL SPECIAL

RED WITCH FACTOTUM EFFECT: BASS OCTAVE AND OVERDRIVE | RRP: $452.99 | DISTRIBUTOR: MUSIC LINK AUSTRALIA

EBS OCTABASS EFFECT: OCTAVE DIVIDER | RRP: $229.95 | DISTRIBUTOR: PEDAL EMPIRE

octave effect is cranked. The controls allow the octave to be mixed in with the original note, from subtle fattening to a full synth-bass tone. A range switch controls the octave’s voicing, with high, mid and low on offer. The OctaBass also does a solid job with electric guitars too.

RECOMMENDED FOR: Bassists who need dirty tones, be they sub-octave growl, edgy distortion or both at the same time. Especially suitable for those who need something stage-worthy and functional.

SOUND AND VERSATILITY: The dirty sounds can be very hairy and aggressive if you want something utterly antisocial, but you can also dial in subtle warmth in that Geddy Lee kind of way.

The octave sounds are very clear with great tracking and a full tonality that works great with or without distortion.

USEABILITY: Everything is laid out very logically and ergonomically, and the ability to engage

USABILITY: Simply designed, this is an extremely intuitive pedal to use. The OctaBass tracks notes particularly well and fast, instantaneously matching notes across the fretboard. As opposed to other octave pedals, the OctaBass can recognise two or three note chords, pick out and double the root note.

each of the two effects separately is very handy.

CONSTRUCTION: The construction is great and it just looks cool on a purely superficial level too. The foot switches are far enough apart that you won’t hit both by accident, but can angle your food to do so when you need to hit both at once on purpose.

OVERALL: This is the ultimate octave/grit box for those who dwell on the heavier fringes of music. It’s also a great tool for generating subtle increases in the depth and power from your bass tone for more friendly genres too.

RECOMMENDED FOR: This is a great pedal for jazz players who want to hold down the low end while they solo up the neck, or rock players looking to add some girth to a bass line.

It’s an industry standard effect used by legendary bassists including Tony Levin, Roger Glover, Marcus Miller and Tal Wilkenfeld.

SOUND AND VERSATILITY: This is a clean sounding pedal with a very low noise level, even when the

CONSTRUCTION: Comprised of quality analog circuitry, this is a true bypass pedal that will colour your tone without detracting from the original sound. A weighty pedal that is sturdy without taking up too much pedalboard real estate.

OVERALL: While it may not offer the most options, the OctaBass is a sleek effect with some of the best tracking in its category. Its clear and rounded voice make it one of the better octave pedals out there.

MC SYSTEMS LAX GLASS CHORUS

EDEN I90 CHORUS

EFFECT: CHORUS | RRP: $245 | DISTRIBUTOR: CMC MUSIC AUSTRALIA

EFFECT: CHORUS | RRP: $199 | DISTRIBUTOR: ELECTRIC FACTORY

songs in a way that other chorus pedals simply can’t do. It can sound like two very different choruses with the stomp of a switch.

USEABILITY: The V-Switch lets you access two totally different levels of chorus depth. One subtle and one extreme, while the alternate switch lets you vary between two different modulation rates, which is equally useful.

CONSTRUCTION: A very chunky and solid pedal which, like the rest of the line. It has a distinctive visual design as well as carefullyimplemented practical features.

RECOMMENDED FOR: Any guitarist looking for a high-quality chorus, but especially those who want something they can experiment with and interact with from song to song, or section to section.

OVERALL: A unique new take on the way we control chorus effects, taking it from a generally passive ‘turn it on and play’ type of effect into an active, real-timecontrollable one that can become a part of your composition almost in a similar way to a wah-wah or envelope filter.

SOUND AND VERSATILITY: This pedal is equally at home with Andy Summers-style clean tones, Alex Lifesonesque overdriven hi-fi chorus voices or Steve Vai-style ‘shiny glossy solo sound’ leads. The switchable settings make it very versatile and adaptable to specific

PG.42 // MIXDOWN #255 // JULY 2015

RECOMMENDED FOR: Anyone who wants some extra shimmer and atmosphere in their bass sound, but especially those in bands where a lot of space is given for the bass to roam free.

throwing your amplifier and speakers into hysterics, which can be a risk when chorus is applied to bass. Then the Mix Level lets you dial in just how much actual effect to add in.

SOUND AND VERSATILITY: Whether you want a light doubling effect, (which is really great for arpeggios) or a more bold chorus effect, (which really shines with fretless bass) or you just need some extra dimension and shimmer in a jazz, pop or ambient context, this pedal is very well voiced. It can even cop Hammond organ sounds.

CONSTRUCTION: A very solid, high-quality pedal with robust controls and a case that feels so ‘military spec’ that you’ll probably get stopped by the TSA.

USEABILITY: The Low Cut control is the key to getting the most out of this pedal. It lets you get the shimmer and liquidity without

OVERALL: The ultimate bass chorus, with enough regular and ‘bonus’ features to really let you dial in your own custom sound, plus enough roadworthiness to put up with whatever the touring life can throw at it.

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PEDAL SPECIAL

RED WITCH MEDUSA EFFECT: CHORUS/TREMOLO | RRP: $452.99 | DISTRIBUTOR: MUSIC LINK AUSTRALIA

BLACK CAT MINI TREM EFFECT: TREMOLO | RRP: $235 | DISTRIBUTOR: GLADESVILLE GUITAR FACTORY

controls are especially handy, designed with a wide sweep to give you everything from a dull rolling wobble to a shimmery, bright flicker.

RECOMMENDED FOR: Anyone who requires a wide variety of swirly, wobbly, wiggly, liquidy tones, especially those who use a stereo rig. It’s strongly recommended for ambient players, it’s a great all-rounder.

SOUND AND VERSATILITY: One of the most versatile chorus/trem pedals out there with plenty of controls that let you really fine-tune just how subtle or extreme you want the effect to be. The ability to dial in really, really long delay times lets you get some truly seasick undulous chorus tones or some beautiful pans that swim around the stereo spectrum for up to 45 seconds.

USEABILITY: Some of the controls have funny names like Magnitude, Bathos and Iridescence, which makes it a bit of a ‘read the manual’ or

USEABILITY The pedal is responsive and pretty intuitive. The added controls and the greater assortment of sounds means dialling in what your after might take a little more time than usual, but once you’ve got the hand of it you’ll be off and running. The pedal also comes fitted with a speed switch which enables you to select between half speed and double speed.

‘spend a few hours tweaking stuff before you figure out what does what’ kind of pedal.

The ability to hook up an expression pedal to control the speed also greatly enhances the Medusa’s useability. There’s also a switch on the circuit board to tailor the pedal’s response to suit high-output pickups.

CONSTRUCTION: We’re long past the days of plastic pedals.

This is a very solid device like all Red Witch pedals, and it’ll keep up with whatever you can dish out. The controls are spaced far enough apart so as to not cause fat-finger problems.

OVERALL: This is a great all-round chorus/tremolo pedal for anyone who wants to add shimmer to their sound, and an essential one for those who like to explore the more ambient, ethereal corners of the music world.

RECOMMENDED FOR: The guitarist looking to really refine their tone with the use of added controls and unique tweaks.

SOUND AND VERSATILITY: With speed, depth, tone and boost controls at the ready, the Black Cat tremolo affords the player the opportunity to find exactly what they’re looking for amongst the array of sounds available.

The addition of the tone and boost

CONSTRUCTION A hand-wired pedal that can be powered by a 9 volt battery or from a jack mounted at the top of the pedal. With four knobs and two switches it has a little more happening on the top than your average tremolo pedal. The yellow LED also flashes in time with your sound to give you a visual reference.

OVERALL This isn’t the most feature-packed tremolo pedal on the market, and yet it stands apart because the extra features it does have are relatively unique, giving you more tone-sculpting and output-shaping capabilities than most. The tremolo feels smooth and natural but the Tone control really kicks it up to the next level.

EARTHQUAKER DEVICES HUMMINGBIRD

RED WITCH EVE TREMOLO

EFFECT: TREMOLO | RRP: $210 | DISTRIBUTOR: GLOBAL VINTAGE

EFFECT: TREMOLO | RRP: $180.99 | DISTRIBUTOR: MUSIC LINK AUSTRALIA

for whacked out deliberate stutter effects or moody washes, but it’s also cool to blend with other effects for individual tones and distinctive patches.

might miss the depth of features of some of the more specc’d out tremolos out there but if you just want basic tremolo sounds there are lots of reasons to love this little stomper.

USABILITY: This trem can be a beautiful subtle throb that just glides in the background, great for arpeggiated chords or sparse single note lines. Then again, if you ramp up the depth and let the oscillation kick in it’s something else entirely. So from a user point of view, you can dial in the relaxed vibes or get whacky with ease, it’s just a matter of finding the sound you’re looking for in that particular situation.

USEABILITY: The rechargeable Lithium Ion battery gives you 120 hours of playing time from four hours of charge. The controls give you plenty of range for fast and slow, shallow and deep tremolo sounds.

If you’re an absolute tremolo hound you might want something more.

CONSTRUCTION: A very tiny, portable, light little pedal.

Even more so than the Ivy Distortion, the Eve Tremolo is probably a good candidate for mounting on a guitar or strap for real time control if you’re that kind of adventurous player.

CONSTRUCTION: Tough and well built, it’s more than just the looks and construction here – it’s the circuit idea and design that adds something extra.

RECOMMENDED FOR: Indie, pop, electro, experimental, noisemakers and lovers of special effects.

SOUND AND VERSATILITY: Based on old Valco and Vox tremolo sounds, the Hummingbird can slowly shimmer and glow for vintage uses but then gets funky when you push the amplitude modulation side of things. Great

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OVERALL: It’s a tremolo, but not your average trem. It can do wobbly and throb, but really excels with the ‘repeat percussion’ type sounds like choppy, filtered, raspy, sawtooth that almost splurts out of your speaker.

RECOMMENDED FOR: Players who want a tremolo pedal for occasional feature moments or subtle shimmers, but aren’t terribly fussed about having a hugely tailored, custom tremolo sound.

SOUND AND VERSATILITY: With only Speed and Depth controls, this isn’t exactly the most feature-packed or distinctive tremolo pedal out there, but it does what it does quite well. You

OVERALL: It sounds good, the controls give you plenty of range and it’s handy in terms of economics and ergonomics. It’s not the be-all-and-end-all of tremolo pedals, but if you want something simple to do the job in broad strokes, and you like the convenience of the rechargeable aspect, then you might just be all about Eve.

MIXDOWN #255 // JULY 2015 // PG.43

PEDAL SPECIAL

STRYMON BIG SKY

STRYMON FLINT EFFECT: TREMOLO AND REVERB | RRP: $499 | DISTRIBUTOR: NOISE TOYS IMPORTS

RECOMMENDED FOR: Rock, pop, roots and folks after vintagey, warm trem and verb.

SOUND AND VERSATILITY: As either a reverb or a tremolo, the Flint sounds warm and natural with 3 different types of each. Then blend in both and you’ve got some old valve amp goodness that could sit in a heap of musical settings.

USABILITY: Setup as on/off for both effects, it’s easy to dial in a trem and verb and then hit it. The beauty is then in some of the deeper ‘secondary’ functions that let you set the order of the effects and tweak subdivisions.

CONSTRUCTION: Tough and built to last, the pedal size is just right with enough space between the two footswitches to click just one by itself easily. You can also do the two at once with a bit of side foot action if you need to.

OVERALL: Looking back to the 60s and 70s, the Flint gets its direction from those historic vintage amps that ran trem and verb as a tasty combination. The Flint definitely delivers organic and lush tones that you can set and forget, or ramp up for something a little more in your face.

MC SYSTEMS LYN DYNAMIC PHASER EFFECT: PHASER | RRP: $215 | DISTRIBUTOR: CMC MUSIC AUSTRALIA

EFFECT: REVERB | RRP: $679 | DISTRIBUTOR: NOISE TOYS IMPORTS

RECOMMENDED FOR: Rock, experimental, indie and pop players.

SOUND AND VERSATILITY: Whilst it’s a reverb pedal, it isn’t just a reverb pedal, if you know what I mean.

Sure you can get tasty spring type sounds and cosy room settings right through to big hall verbs, but then get into the shimmer, chorale, cloud and bloom area and you’ll have modulation, space, decay, depths and a host of other palettes to explore.

USABILITY: Whilst some of the reverb types here might take some figuring out, this pedal is generally super easy to twist and play

SOUND AND VERSATILITY: Everything from gentle, barelyperceptable phaser warbles to truly alien “No Quarter” style phaser wobbles. It sounds just as good no matter which extreme you’re going for, and the fact that you can vary the effect depth in

mental rock/vibey/blues and the ‘Detune’ setting allows for cool 80s chorus type tones too. Plenty of options here!

USABILITY: Tiny and easy to stomp on, you’ll realistically want to set and forget when using it on a gig. The control layout and dials are surprisingly easy to manipulate however even considering the pedal’s mini size.

CONSTRUCTION: Tough and well thought out, it’s easy to set and forget with the little cross bar part stopping you from bumping controls when stepping on it. The large knob on the front also packs every bit of room to work and still lets you adjust the controls easily.

CONSTRUCTION: A nice strong pedal which takes up the perfect amount of space on your board: big enough to deal with the interactive nature of the stomping it requires you to perform, and small enough that you can fit a bunch of other MC Systems pedals on your board too.

PG.44 // MIXDOWN #255 // JULY 2015

OVERALL: Want a great sounding straight up reverb? Check. Want to tweak a multitude of reverbs til you can’t differentiate your delayed puffs and lift trails from dark caverns or velvet drapes? Check. Plenty of verby goodness from those clever peeps at Strymon.

EFFECT: PITCH SHIFT | RRP: $179 | DISTRIBUTOR: NOISE TOYS IMPORTS

USEABILITY: The V-Switch allows you to vary the level of phaser depth according to how hard you stomp on the pedal, while the Alternate switch gives you different modulation rates. It takes a little bit of getting used to but it soon feels natural.

You can even create rhythms with careful use of the Alternate switch and rate controls.

OVERALL: Phaser is the perfect effect to apply this kind of technology to because it allows you to access the more Leslie-like elements of the phaser sound as well as more out-there textures in a truly interactive you.

CONSTRUCTION: In the uniform Strymon big box size, the Big Sky looks great, feels tough and has plenty of power packed under the hood.

HOTONE HARMONY

realtime while still playing means you can create some dynamic, rhythmically forceful effects that no other phaser can match.

RECOMMENDED FOR: Anyone looking for controllable phaser textures, from vintage fans who want to get some of that ‘different Leslie speeds’ vibe to modern anarchist texturalist players who are seeking new tones.

and then edit from there on the fly. To be honest I quite like flicking through the presets as a start and then tweaking when an idea comes to mind.

RECOMMENDED FOR: A pretty broad pedal that could be used for funk, metal, experimental and rock.

OVERALL: This is a cool and compact harmoniser pedal that has some great features.

Great as your go to pitch shift pedal or handy as a secret weapon to keep in your gigbag when that something extra is needed!

SOUND AND VERSATILITY: A two octave range with blend controls for the dry and effected signal. You can do subtle through to chipmunk crazy.

Great for doubling or fattening single note lines, getting Jack White experi-

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PEDAL SPECIAL

EDEN CALIFORNIWAH EFFECT: AUTO WAH/ENVELOPE FILTER | RRP: $199 | DISTRIBUTOR: ELECTRIC FACTORY

RECOMMENDED FOR: Bass players who want funky autowah sounds that they can control with playing dynamics, and sculpt to suit the situation.

SOUND AND VERSATILITY: Between the Low Point, Resonance and Sensitivity controls you can dial in anything from a subtle trebly bite to a big deep swoop and a Level control means you can dial in extreme sounds but then blend them back for subtle enhancement instead of sonic overkill.

USEABILITY: The main controls in themselves are very useful but the Voice and Effect Level controls really raise this one above the vast majority of auto-wah pedals on the market. Everything’s well laid out

and easy to see too, despite the fancy graphic.

CONSTRUCTION: The knobs feel as thought they are of a very high quality and difficult to turn accidentally. Even the little push-push Voice button feels a lot higher in quality than the buttons typically found in pedals of this ilk. A very stage-friendly pedal.

OVERALL: Between the dynamic range (which is vast) and the sonic sculptability (which is near infinite) and the Voice control (which effectively turns this into two whole pedals at once) this is one of the most adaptable envelope filter/autowah pedals on the market, and a great addition to any player’s rig.

CRYBABY MINI WAH EFFECT: WAH | RRP: CALL FOR PRICING | DISTRIBUTOR: AUSTRALASIAN MUSIC SUPPLIES

RECOMMENDED FOR: Anyone who requires wah effects but has limited space on their pedalboard, or who wants a wah they can chuck in a guitar case or gig bag. The voicings are versatile enough to make it an ‘every genre’ wah.

SOUND AND VERSATILITY: With three modes there are plenty of sounds. Select between Low, Vintage and GCB95 modes for everything from old-school subtlety to a more modern gutwrenching wah wah sound.

USEABILITY: The pedal’s small size makes it a little tricky to reach the lower ranges of the pedal’s throw, and the mode switching is handled inside the unit so you need to take the bottom off to change sounds.

Neither is worth making anybody pass on owning one but it would be a better pedal if both issues were addressed.

CONSTRUCTION: The high-quality Fasel inductor ensures great tones, and the unit itself feels quite sturdy and roadworthy considering its small size. It feels more or less as bulletproof as a full-sized Crybaby.

OVERALL: Unbeatable for sheer sonic versatility and quality in a small and confined space, but the small usability issues keep it from scoring full marks. However on pure tone and reliability there’s every reason in the world to check this pedal out and add it to your pedalboard, whether you need the smaller footprint or not.

HOTONE SOULPRESS

VOX DOUBLE DECA DELAY

EFFECT: WAH/VOLUME/EXPRESSION | RRP: $179 | DISTRIBUTOR: NOISE TOYS IMPORTS

EFFECT: ANALOGUE DELAY | RRP: $249.99 | DISTRIBUTOR: YAMAHA MUSIC AUSTRALIA

effect, adding dimension to your tone.

At higher settings it can create a swirling, rotary-like effect. A switch chooses between long and short delays, which offer everything from an old school slap back to tripped out self-oscillation.

Alternatively, both long and short delays can be blended together to create a lush delay that is rich with atmosphere.

RECOMMENDED FOR: Though the volume and expression elements mean this pedal is versatile enough for use in a number of different genres, as a wah it’s better used in funk, rock, pop and psych.

SOUND AND VERSATILITY: This pedal is made to be versatile. It is equal parts volume, wah and expression.

All three are super usable with the wah sounding quacky and vibrant with a smooth top end (no harsh overbright highs) and an even sweep. In volume mode you can roll cleanly through your range and then as an expression you can slot it into whatever you like.

USABILITY: With a smooth treadle, the Soulpress feels nice for any of the three functions, and

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in terms of use, it’s as easy as flicking the selector switch to the mode you want to use, and then adjusting the bottom value if needed. Mini is cool in terms of size and feel without compromising tone. Some bigger feet may need time to get used to the size however.

CONSTRUCTION: Stronger in build and feel than I expected, you can wah away with plenty of gusto without fear.

OVERALL: Mini is very trendy at the moment and the choice of incorporating all three functions ticks a few boxes for a lot of players. A cool concept that sounds and feels good, and could save you some valuable pedalboard real estate or even sit in you gigbag for that time when you just may need it.

RECOMMENDED FOR Anything from rockabilly to ambient, especially for fans of vintage sounds. This is suitable for someone wanting a delay with character and retro charm.

SOUND AND VERSATILITY: The three bucket brigade chips used in the Double Deca give the repeats a sought after analogue warmth. This is a very musical delay, with a dark and washed out character. The built in modulation control can add a subtle chorus

USABILITY: The controls are simple and intuitive enough to get a great sound going right out of the box. The pedal has to be manually turned on via a standby switch, which might be easy to forget in a live situation. Inclusion of tap tempo would take this to the next level, but ultimately the Double Deca will cover most delay needs with minimal fuss.

CONSTRUCTION: A heavy pedal with a die-cast aluminium shell which could certainly put up with gigging hardships and overenthusiastic stomps.

OVERALL: The Double Deca is a warm, versatile delay with a colourful sound. Perfect as an easy to use delay that will bring character to your tone without breaking the bank.

MIXDOWN #255 // JULY 2015 // PG.45

PEDAL SPECIAL

HOTONE TAPE EKO EFFECT: DELAY | RRP: $179 | DISTRIBUTOR: NOISE TOYS IMPORTS

MC SYSTEMS CGN DYNAMIC DELAY EFFECT: DELAY | RRP: $245 | DISTRIBUTOR: CMC MUSIC AUSTRALIA

the Mode 2 setting, great for vintage sounds and rounded puffs of delay. Mode 1 is slightly brighter and more responsive which could handle the longer rhythmic things or crack out a nice country snappy slap. Reverse is then a bonus if you want to get a little whacky.

standard, straight-forward but nicesounding delay. The magic is in how you interact with it, which means you can get some contrasting effects in ways that other delays just can’t do.

USEABILITY: There are two selectable delay time/level settings, but the best usability feature here is the ability to alter the feedback by how hard you stomp. It takes some getting used to (and don’t try it barefoot - ouch) but once you’ve figured it out it’s quite an intuitive system.

USABILITY: Mix, feedback, delay and a three way mode switch for Mode 1, 2 or Reverse.

Simple.

CONSTRUCTION: You’ve seen these tiny Hotone pedals no doubt, and they more than do the job.

Small, tough and seemingly well built, they’re definitely more than just a small gimmicky build – they’re made for plenty of gigging and jamming.

RECOMMENDED FOR: Ultimately this pedal is best served in the pop, rock, experimental and country arena.

OVERALL: Surprisingly vintagey in sound, the Tape Eko is a handy little standalone Eko pedal that could be your dedicated Slap back/solo tone/ambient/reverse moody crazy sound pedal as it won’t take up much room, sounds cool and keeps on keeping on…and on….and on!

CONSTRUCTION: A very well-built pedal, and it’d wanna be given that it invites you to stomp the hell out of it with its interactive, ‘hey, stomp on me!’ control system.

RECOMMENDED FOR: Any guitarist who’s after a versatile delay with a simple feature set and yet is not afraid to get a little bit out-there, especially in terms of end-of-song delaymeltdown sound collages.

SOUND AND VERSATILITY: Delay is often a favourite amongst guitarists, be it for subtle depth or body or bigger swelly repeats. The aptly named ‘Tape Eko’ does a warmish tape tone in

SOUND AND VERSATILITY: The name might be a bit misleading in that it’s not a ducking delay (ie: dynamically sensitive). The name alludes to the V-Switch which lets you summon different feedback levels for the effect depending on how hard you stomp on the pedal. Otherwise it’s a pretty

STRYMON DIG

STRYMON TIMELINE

EFFECT: DUAL DIGITAL DELAY | RRP: $499 | DISTRIBUTOR: NOISE TOYS IMPORTS

RECOMMENDED FOR: Guitarists that play rock, pop, electro, experimental, and enthusiasts of 80s tones.

easy to do from looking at the control knobs. You can DIG further if you like too, if you want to change delay types, run in sync or add an expression pedal.

SOUND AND VERSATILITY: Two simultaneous delays that integrate to produce 80s inspired rack sounds.

Big repeats, spaced out and a range of resolutions allow for some truly flange, modulated, synthy, chorus type tones.

Then there are pseudo E-Bow sounds, rhythmic delays and big echoes. Tweak and you’ll find plenty more in this little pink number too.

CONSTRUCTION: Typical Strymon looks and design in a compact package that seems built to be stomped on.

USABILITY: Blend the two delays as you see fit, add modulation and set repeats. All this is

OVERALL: Getting its fix from those 80s rack delay tones, the DIG is a different beast to Strymon’s other delay offerings. Perhaps not enough for some players, but plenty of us out there will love pushing the DIG’s boundaries and dialling sounds from the era of big guitar racks and processed guitar tones.

PG.46 // MIXDOWN #255 // JULY 2015

OVERALL: The Dynamic Delay is a radical new take on how we interact with a delay pedal, turning the simple act of switching on the effect into a part of your performance. Simply, or should i say, intuitively awesome!

EFFECT: DELAY | RRP: $649 | DISTRIBUTOR: NOISE TOYS IMPORTS

RECOMMENDED FOR: Indie, rock, pop and ambient players. It’s also handy for those needing to cover a lot of bases in one unit.

as gentle or as steep as you like. That said it’s pretty easy to get your head around even some of the most advanced functionality.

SOUND AND VERSATILITY: Vintage, warm sounding repeats with grit, big lush ambient textural sounds, slap back, swelling modulation and the list goes on. It’s great for drastic effects but also a nice sounding unit for simple delays and adding some body to your tones. I’m a big fan of the Digital, dTape, Lo-Fi and Swell settings.

CONSTRUCTION: Tough, easy to stomp on, solid under foot, logical control layout and a comfortable angle. The form factor and materials are spot on.

USABILITY: From actions as simple as two presets and a tap tempo through to serious processing, switching and deep editing, the Timeline caters to a wide audience and means the learning curve can be

OVERALL: This has become one of the staple delay pedals for pros and bedroom bashers alike with presets, a heap of tweaking options and good sounds for a range of styles. It can also be as straightforward as you like if you prefer just a couple of presets. It’s not surprising that you see the Timeline on boards everywhere.

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PEDAL SPECIAL

HOTONE WALLY LOOPER

VOX STOMPLAB IB

EFFECT: LOOP STATION | RRP: $169 | DISTRIBUTOR: NOISE TOYS IMPORTS

EFFECT: MODELLING BASS GUITAR EFFECT PROCESSOR RRP: $119.99 | DISTRIBUTOR: YAMAHA MUSIC AUSTRALIA

speed it up to double speed (one octave up) when engaged. When kept in its original position this pedal won’t colour your tone or disfigure it and the volume control knob will help you boost the overall loop volume to keep your overall sound where you want it.

USEABILITY: The input recording volume function is great when adjusting the volume of each loop you record and as you go or switch between instruments. Really dig the 15mins of recording time you can play with and infinite looping function which is down right crazy fun when you get the hand of it. Easy memory wipes and re-record functionality make it fun simple to loop.

RECOMMENDED FOR: Any player, be that guitar, bass, keys or percussion that wants a singular mono channel of sound looped. It’s ideal for the guitarist or bass player who wants to record live licks on stage solo, with their band or writing in their studio. The Wally Looper is a great tool for creating dense adjustable layers of sound or just working out other parts to a new song.

SOUND AND VERSATILITY: It doesn’t create a sound or tone as such, but the tempo variation function is adjustable to slow down your loop by a half speed (one octave down) or

CONSTRUCTION: Built strong with a silent switcher, it will have you looping and stomping a lot with ease and peace of mind that it won’t break after heavy use. The LED is helpful to monitor the pedals operating status and loop functions.

OVERALL: An awesome compact looper that will save you space on your pedal board in comparison to other larger more involved loop pedals on the market. It’s simple, functional and user friendly, so without further ado, introducing Wally – your new

TC HELICON DITTO MIC LOOPER EFFECT: VOCAL LOOPER | RRP: $329 | DISTRIBUTOR: AMBER TECHNOLOGY

array of high quality effects for almost any situation.

USABILITY: With so many effects on offer, the interface can be daunting at first. Thankfully, effects are divided up into selectable categories including funk, jazz, rock, dance and pop to make it easy to find the right sound. The StompLab offers 100 diverse presets, all easily accessible via the footswitch. Presets are also customisable and can be saved.

The addition of a floor tuner is a practical touch.

RECOMMENDED FOR: Bass guitarists looking for a single pedal to cover most of their needs. A headphone out also makes this good choice for facilitating silent practice.

SOUND AND VERSATILITY: This is an incredibly versatile pedal, offering a range of quality effects and amp modeling. Effects range from subtle and useful, such as a clean sounding compressor and EQ, to a colourful autowah, octave generator, fuzz, chorus, acoustic emulator and more. Within these categories, parameters can be further tweaked to your liking. The amp and cab emulations do a decent job of replicating their namesakes and are especially useful for quickly dialling in a fresh sound.

Ultimately, the StompLab offers a huge

CONSTRUCTION: The StompLab is remarkably small considering the amount of effects squeezed into it. The dials are conveniently big enough to move with a foot if needed, while the outer shell is durable.

OVERALL: An excellent, jack of all trades pedal that offers a massive range of sounds.

CIOKS ADAM LINK PRODUCT TYPE: MULTIPLE PEDAL POWER SUPPLY | RRP: $209 | DISTRIBUTOR: AMBER TECHNOLOGY

pedals, this unit has been designed to work with microphone inputs and allow the voice to be looped and played back.

It is a bit of a one trick pony, but it is what you can achieve with that trick that makes it so worthwhile.

USEABILITY: The two button operation couldn’t be any simpler to use. It is really just a matter of getting your head around the combination of button presses so that you can do it without thinking. Then you can focus on your performance and just let the pedal do its job without it being an inhibitor.

RECOMMENDED FOR: This is perfect for the singer and front man who wants to gain control over their sound just like the guitarist has always done. For anyone who sings with or without using a guitar as well, this pedal gives your performance a new power.

SOUND AND VERSATILITY: What goes in is just what comes out, over and over again. Like guitar looper

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CONSTRUCTION: Both buttons are really nice silent switches that respond well to a delicate touch, but can also take a heavy pounding when properly trodden on. The one potentiometer located on the top is housed under a large outer knob and feels pretty tough too.

OVERALL: This is without a doubt the pedal that many vocalists have been waiting for.

It’s compact, easy to set up in just about any environment and it’s super easy to use. Plus it sounds great!

RECOMMENDED FOR: This power supply is designed for guitarists running a compact and minimal pedal board with limited power needs. It may be a second pedal board for a smaller rig or even for use with a different setup, like an acoustic rig.

VERSATILITY: With four isolated outputs, you have a combination of 9 and 12 volt power sources between 100 and 250 mA current draws. This is suitable for most smaller pedals that don’t require separate, larger AC power supplies and it will meet the needs of most compact pedal boards.

USEABILITY: The compact size of the unit allows it to fit into most pedal boards, it will even

slide into the underside of a Pedal Train Nano board, so it isn’t going to take up much needed space on top of the board when a pedal could be resting there.

CONSTRUCTION: This is a tough little box with very little that can get damaged on the outside of it. The power cable is not hardwired, which is a plus as it can be removed when not in use to protect it from getting damaged.

OVERALL: With only four outputs, this might not meet everyone’s needs. Still, for a compact setup, or linked from another CIOKS power supply for added juice on a larger rig, this is a handy little tool to have.

MIXDOWN #255 // JULY 2015 // PG.47

PEDAL SPECIAL

GATOR CASES - THE BONE PRODUCT TYPE: PEDALBOARD | RRP: $169 | DISTRIBUTOR: JANDS AUSTRALIA

RECOMMENDED FOR: As a compact and streamlined choice for laying out your pedals, The Bone is no brainer. An obvious option for guitarists who want to keep it neat and simple with a limited number of pedals needed to get the job done right.

VERSATILITY: A mostly elongated design allows for four or five typical pedals to run along the board with the extended section on the right allowing for a wah or volume pedal to start the signal path off.

USEABILITY: The design of this unit does not really allow for any wild and over the top pedal setups. In fact it does quite the opposite, bringing a certain refinement to the layout and keeping all the pedals

in a neat row as the space dictates. A simple and clean signal path is forced from this board.

CONSTRUCTION: Made up of a lightweight plastic, this isn’t too much trouble to cart around, but it still has plenty of strength. With rubber feet not only on the corners, but under the centre of the board for added support, this is ready to take a beating.

OVERALL: This may not be everyone’s choice, but when you are running a simple pedal rig and want a lightweight pedalboard solution, this is a very neat option. There is even space to land a compact power supply on one side without taking up valuable real estate too.

PG.48 // MIXDOWN #255 // JULY 2015

CHARLIE’S PEDALBOARDS C3 PRODUCT TYPE: PEDALBOARD | RRP: $199 | DISTRIBUTOR: ELECTRIC FACTORY

RECOMMENDED FOR: This is the sort of pedalboard plenty of guitarists will find is the perfect middle ground between compact and over the top. It will suit most players’ needs with space for up to a dozen pedals and has a variety of options in how it can be set up.

VERSATILITY: The two-tiered design of this pedalboard is what makes the C3 a standout against many other pedal boards of this size. It really makes good use of the available space, allowing for a wide range of pedals to be used while being able to house various power supplies underneath.

USEABILITY: With the two-tiered design, you still get

the full depth of the pedalboard on the right hand side to allow for wah and volume pedals, while the left hand side allows for the rear row of pedals to be raised for easier access.

CONSTRUCTION: Made out of lightweight aluminium, this is easy to carry around even when fully loaded. Support bars underneath the chassis take the weight when you stomp upon it and rubber feet the whole way across the bottom keep it stable under a load.

OVERALL: These pedalboards are underrated and really deserve a bigger spotlight. The entire range has something to offer just about every setup, but the C3 is by far the pick of them as the great all-rounder.

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SOUND LIKE A PRO, FROM DAY ONE. NEW

PG ALTA

TM

Microphones

Legendary Shure Sound. Advanced Industrial Design.

Choices for every application. PG ALTA™ puts professional audio quality within reach. Expect rock-solid sound and reliability that sets the bar for accessible, professional -calibre gear.

For Performing & Recording.

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PORTABILITY AND CONVENIENCE MADE SIMPLE

PORTABLE 6.5" TWO-WAY SYSTEM WITH DETACHABLE POWERED MIXER The EON 206P is a self-contained Portable PA System featuring multiple input channels and controls for live performance, speech, or music playback. Leveraging the same transducer technologies that have made JBL EON speakers an industry leader, the EON 206P offers professional sound quality in a compact, easy to use package.

Weighing only 25 lbs, the EON 206P snaps together for easy transportation wherever you need sound.

Whether youÕ re presenting, teaching, or performing, the EON206P has all of the features you need to deliver your message.

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ROAD TESTS Tycoon Percussion TKCT-29 Crate Cajon

something a little different to offer sonically when compared to other models. The unique charm of this instrument goes beyond it’s gritty aesthetic.

Dynamic Music | (02) 9939 1299 | www.dynamicmusic.com.au | RRP: $329

Looking a bit like something that has washed up on a beach from a shipwreck, these new crate cajons from Tycoon percussion are really a sight to behold. They are a step away from some of the classic timber looks that Tycoon Percussion have given us with many of their cajons and congas. In place of the usual slick and glossy finish is a more worn down and aged look. But that doesn’t mean they sound old and weathered. In fact, it’s quite the opposite.

OLD LOOKS, BRIGHT NEW SOUND

BY ROB GEE

SPECS • Front, Back and Sides: Siam Oak • Dimensions: 29cm x 30cm x 51cm

of brilliant sounds, ready to be brought to life.

These 29 Series cajons are made from Siam Oak. The addition of timber slats around the body and the natural grain of the oak gives it the look of an old crate. On top of that, a rough and almost dirty looking stain to the timber really does make this look like a prop from the set of Pirates of the Caribbean. Still, it is fresh from the Tycoon factory and full

HITS

ADJUSTABLE TONES

Inside the front panel the snare wire is adjustable with an Allen wrench so you can tune the snare snap to suit your sound. It’s also fitted with a series of bells on the main brace to give a little extra sizzle to the sound brought from the centre of the front panel.

Working around the sides of the

cajon delivers a more choked tone as the slats running around the body restrict the side panels from moving as freely, so the result is a tighter response and a very sharp transient attack.

Let’s face it; these are not going

to be for everyone. The look of the crate cajons is certainly unique and isn’t designed to appeal to a broad market, but when it comes to the sound, these are up there with the best of them. The entire 29 Series of cajons from Tycoon has

Dixon Drums Cajon Pedal Plus With the growing popularity of cajons in the percussion world at the moment and the increasing use of stomp boxes by guitar players as part of their acoustic setup, it’s easy to understand why we’re seeing products like the Dixon Cajon Pedal enter the market. A simple and rugged design ensures that this pedal will properly deliver the results you need, and give you the dynamic range of sounds a Cajon offers as a stomp-box substitute.

The concept is simple enough, and one that has been used in various percussion setups for some time now. This is essentially a kick drum pedal with the ability to have the beater set up at a distance from the pedal itself, so it can work at different angles and in different applications. Mainly designed for use with a cajon, it allows a cajon player to have a pedal that is oriented correctly for when they are sitting on the

drum, whilst the beater is turned around to face the drum itself.

This allows the cajon player to not only use both hands on the instrument, but to also introduce a third beater for additional rhythm.

In this regard, it’s a very handy tool for an acoustic guitarist looking to add some percussive depth to their playing.

VERSATILE SETUP

The clever design of this remote kick pedal means it can be adjusted

MISSES • Slightly rougher finish to other models in the range that may not appeal to everyone

well built and with a clever design.

While it is purpose-built for the cajon, it affords you the luxury of having a multi-purpose pedal that can be used for a variety of other percussive purposes too.

Dynamic Music | (02) 9939 1299 | www.dynamicmusic.com.au | RRP: $199.95

HOW IT WORKS

• Great vintage look • Plenty of versatility in sound • Well constructed

By Rob Gee

SPECS • Material: Steel Dimensions: 26cm x 48cm x 8.9cm • Weight: 3.8kg

to work in a wide range of situations. It can be used up a stand to strike any percussion items you have mounted on there, even a cymbal. It can also be set up to hit the underside of a floor tom should you wish, but it is especially well suited to use with cajons as the anchor frame is designed so that the base can be securely mounted to the underside

of a cajon. The dense foam striker has a firm hit to it, but still keeps the thump in its sound, without too harsh of an attack.

This allows it to work well with a range of other percussion and get the most of the lower frequencies from your cajon, leaving you to get the snap and sizzle with the touch of your hands on the upper section of the drum. All up, it is

HITS • Hands free cajon beats • Works with a range of uses and instruments • Tough construction, ready to deliver a beating

MISSES • Setup and pack down can be a little awkward

Diamond Guitars Barchetta LT- T Electric Guitar Dynamic Muisc | (02) 9939 1299 | www.dynamicmusic.com.au | RRP: $749

Diamond’s guitar line is quite varied, from all-out heavy metal guitars to classic rock machines and blues-friendly designs. The Barchetta (pronounced ‘barketta’) LT-T seems to be pitched at more of a ‘budget allrounder’ market, with looks that are stylised without being too aggressive, and features that are simple but adaptable.

BARKETTA MOON

The body is made of mahogany, and is carved in an instantly recognisable Diamond design with the pickup selector switch carefully recessed and the knobs within easy reach. The fingerboard is rosewood with 22 frets and diamond-shaped inlays including a cool logo at the twelfth fret. The electronics layout is very simple: one volume control, one tone control, a three-way pickup selector switch, and a pair of passive humbuckers. The bridge is a standard two-point fulcrum

non-locking vibrato unit which seems to operate smoothly enough, although this style can’t quite compete with a well-maintained Floyd Rose for tuning stability.

PICK ME UP

The tone of the bridge pickup is slightly scooped in the middlemost frequencies of the midrange but with a neat little bump in the high mids, edgy but not brittle treble, and tight bass. It doesn’t feel super-high-output, which means you can dial in plenty of extra gain without sacrificing

PG.50 // MIXDOWN #255 // JULY 2015

SPECS clarity. It’s great for power chord chunkin’ or for single-note leads.

The neck pickup is a little darker, lacking a little pick attack and top end detail but nice for bluesy sustained leads or for clean chording. It would be nice to have coil splitting available to extract a little more flexibility out of this guitar and particularly to bring in a bit more high end for neckposition tones.

Aside from a few rough fret ends there’s nothing particularly negative to report. The ‘LT SERIES’ logo is engraved through the removable protective film of the

truss rod cover which makes it look messy until you realise you’re just looking at frayed bits of film that you’re meant to take off when you get the guitar home anyway.

READY TO ROCK

Overall this is a well-built guitar that will easily adapt to a multitude of styles, although it looks more suited to the rockier side of things.

It’s a shame the neck pickup doesn’t quite seem to match the bridge one, but there’s still plenty to love about this instrument.

BY PETER HODGSON

• Mahogany body and neck • Rosewood fingerboard with 22 frets • Bolt on neck • Fulcrum Tremolo • Diamond Custom Pickups • Grover Tuners

HITS • Comfortable thin neck • Great bridge pickup • Classy looks

MISSES • No coil splitting • Dark-sounding neck pickup • A few rough fret ends

www.mixdownmag.com.au

ROAD TESTS

Sennheiser MKE2 Clipmic Digital

SPECS

Sennheiser Australia | (02) 9910 6700 | www.sennheiser.com.au | RRP: $1495

There are certainly plenty of options on the market these days for recording into your iPhone or iPad. With such a mass of products, it is hard to know where to start and one begins to wonder if some of them actually offer a better quality of audio capture to the actual in-built microphones on the device itself. This is where Sennheiser did it right. They took the time and effort to ensure that when they entered to iOS market, they were prepared with a product that was indeed of the quality we all expect from them. So, the Sennheiser ClipMic Digital is now here and ready to be heard. ambient and room noise.

QUALITY COMPONENTS What Sennheiser realised was Sennheiser have made their big that there was no point having a move into the world of iPhone quality microphone without the recording by taking proven quality A/D conversion that was needed to components and redesigning them do it justice. So, for this product, to work with the smart phone they have teamed up with Apogee format. This begins at the start of to create this compact A/D the signal chain with a Sennheiser converter that sits in line with ME2 microphone capsule. These are the microphone cable just before a great sounding capsule and used the termination in the Lightning as a lapel style mic deliver great connector. results with excellent rejection of

THE RESULTS

What is on offer with both the ME2 and the Apogee digital conversion is a level of clarity that you really wouldn’t expect to receive from a mobile phone recording.

When used with the Apogee MetaRecorder App, it’s simple and easy to capture great quality vocal recordings from meetings, presentations and television or film applications. The compact microphone capsule clips onto the clothing and is unobtrusive, so

it can be worn without it getting in the way. Obviously, being designed for a higher quality of digital conversion to other devices available, the ClipMic requires the use of the Lightning connector, so one of the later generations of iPad or iPhone will be required to operate the device. So, for those of you hanging on to your old phones, it might be time to finally upgrade.

BY ROB GEE

RRP: $939

As many Mac users will already attest, this Duet has been a serious device for many years now when only a couple of inputs have been required in a recording setup.

Now, this new Duet-iOS allows you more freedom and the ability to record in more locations as it can operate with both iPhones and iPads. When used with these devices, you can actually charge your iOS device from the Duet as the power supplied feeds through the bus to keep your device up and running when in use. This now sets a new standard in audio recording quality on an iPhone or iPad and in no uncertain terms blows the competition out of the

water. The quality of the preamps and digital converters found in the Duet are exceptional and allow for studio quality audio recording onto a mobile phone, which is pretty outrageous when you consider it wasn’t long ago that your phone didn’t even support WAV audio files. Shipping with the Waves Silver Bundle plugin package for a range of mixing tools, you are all set to get your next project up and running with the Duet-iOS and you can now use just about any Apple device to put down ideas and record takes at any stage in the creative process.

BY ROB GEE

Shure PSM300 Stereo Personal Monitor System

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on just about any budget. The lower price point comes with the P3R receiver that is housed in a plastic casing. This is also a slightly larger belt pack and operates only on AA batteries for power. If you are serious about quality, then the next step up is the system that features the P3RA transmitter. This is a metal casing with a smaller frame that is less obtrusive when worn. It is a rechargeable power cell system, but is also able to operate on AA batteries if your power runs out.

Both come standard with Shure’s

MISSES

• Inputs: Combination Line (balanced +20dBu max), Mix/ Instrument (+20dBu/+14dBu max) • Preamps: 2 Microphone preamps with up to 75dB of gain • Power: Selectable 48v phantom power, Soft Limit and phase invert • Outputs:2 Balanced line outputs, +20 dBu maximum output level, 1 Independent 1/4” stereo headphone output • System Requirements: Computer: Intel Mac 1.5GHz or faster • Memory: 2 GB RAM minimum, 4 GB recommended • OS: 10.6.8, 10.7.5 or greater • Connection and power: Any available USB port on a Mac (USB bus powered; DC power optional)

HITS • Sleek, compact design • Bundled with Waves Silver Plugins • Exceptional audio quality to iPhone or iPad

SPECS

Jands | (02) 9582 0909 | www.jands.com.au | RRP: $1689 (inc Shure SE215 earphones)

Shure have come to the party this month with wireless devices. For those of you who were at all concerned about the introduction of changes to wireless transmission laws, you needn’t worry now, all Shure wireless systems are guaranteed to comply with the current transmission laws. The new Shure PSM300 comes in a couple of options to suit various budgets.

Let’s take a look: to all operate together. The great THE SEND thing is that the P3T converts the At the heart of the PSM300 is the audio to a digital signal before P3T transmitter which takes the transmission with high end A/D audio form your mixer’s auxiliary converters so nothing is lost in send and converts it into digital transmission. What you hear at the audio to transmit to the one or other end is just what you would many receivers set to the same hear if you listened direct from frequency and channel. This the desk. means, everyone on stage can have a receiver and hear the monitor THE OTHER END send coming through the P3T if Shure have seen the need for they wanted to. You can simply two different receivers to match add additional receivers to your up with this system so that you system and match up the channels can access personal monitoring

• High quality A/D conversion to a mobile phone • Compact design, with handy carry pouch • Greatly audio capture form the ME2 microphone capsule • Quick and easy to set up and install

SPECS

Sound Distribution | (02) 8007 3327 | www.sounddistribution.com.au

OUTWARD BOUND

HITS

• Not available for Android users

Apogee Electronics Duet-iOS and Waves Silver Bundle Apogee are certainly no newcomers when talking about quality audio conversion. They have been delivering high quality audio interfaces for some time now and continue to extend their rage of products to meet the ever changing demands of today’s market. That is why I have now landed the new Apogee Duet-iOS on my desk this month with the included Waves Silver Software Bundle. Now, Apogee have made this new Duet a more versatile tool allowing it to work with not only Mac computers, but also with iPad and iPhone.

The majority of the connections ONE COMPACT UNIT work through breakout cable that One of the things that attracts runs from the rear of the unit. many people to the Duet is the Connectivity to your device is run sleek design of the unit. It’s through USB as is MIDI data and compact build has a no-fuss feel analogue inputs and outputs are to it with a simple desktop unit fed from a breakout cable. The only that only sports one large knob in actual dedicated analogue audio the top and appears to offer very connection on the unit is found in little else. This simplicity in design the form of a 6.5mm headphone certainly gets your attention, but output on the front. Aside from at a closer look, you find there is that, it all looks pretty clean. a lot more going on with the unit.

• Bitrate: 16 bit, 24 bit • Frequency response: 30 – 20,000 Hz • Gain: 0 – 35 dB • Pick-up pattern: Omnidirectional • Powering: Supplied by iOS device • Weight: 24 g

SE215 ear buds that deliver a clear and crisp sound from the receivers.

Each receiver allows you to easily adjust the stereo spread to suit your needs. You can pan the signal right across to one side if you only want to use one ear bud and not miss any of the sound in the stereo mix. This means that you now have the ability to hear everything you want within your in ear monitoring system and pan it to how you want when you are up on stage.

BY ROB GEE

• Bitrate: 24-Bit digital audio • Analogue Connection Range: 90 m • Bandwidth: 24 MHz tuning • Frequencies: Up to 15 compatible frequencies per band

HITS • Sturdy transmitter housing with rack mounting options • Choice of two body packs depending on your needs • Stereo transmission that can be balanced at the receiver • Excellent audio transmission

MISSES • Perhaps out of the price range for some singers in the upgraded receiver

MIXDOWN #255 // JULY 2015 // PG.51

ROAD TESTS M-Audio M-Track Plus MKII Pro Audio Group Australia | (02) 9521 4844 | www.proaudiogroup.com.au RRP: $349.99

I have witnessed, as I am sure many of you have too, the development of M-Audio products over the last two decades. Whilst some ideas have come and gone, there have been many that have stayed their ground. The M-Track series of audio interfaces is just one idea that has stood the test of time and continues to be a relevant contender in the ever cut-throat USB audio interface market. What M-Audio have done with the M-Track range is to ensure they continue to offer great value and efficiency, whilst continually updating the range to meet the needs of current users and the computer systems they are teaming the device up with. So, this is why I find yet another redesign of the M-Track Plus on my desk this month.

FRONT LOADED FEATURES

The M-Track Plus MKII is the result of years of development from M-Audio in the realm of audio interfaces. It sees the very popular M-Track series carry on with a few small changes to the previous design. To start with, the desktop style that was well received by some has been traded in for the more common front loaded format. This places all the inputs on the front panel and the outputs are tucked around at the rear out of you where they should be. So, up front you get the connections for your two input channels, with combination XLR/ TRS connectors on both, with switching between Line and Mic level available with two separate switches next to the inputs. A

headphone output is also added to the front panel for an easy monitoring option. This is further brought to the attention of the user by the larger than life monitor control knob that adorns the front facia for easy volume adjustment when listening through monitor speakers.

GREATER CONVERSION

So, aside from a general facelift and a new chassis to house the goods, what is it that M-Audio are really bringing to the party on this new release of a popular interface? The answer is in the numbers. Look behind the scenes, past the knobs and switches and take into consideration the inner workings of the M-Track Plus

MKII, and you’ll see why this represents such great value for money. Now this two channel USB audio interface offers 24bit/96 kHz audio recording and places it up there or ahead of other units on the market in this price range. If you want quality audio recording at this price point, M-Audio have gone out of their way to give you an option that is well worth considering.

With a standard array of inputs and outputs, and great digital conversion for the price, this is one audio interface you should consider when looking for a

compact, well-priced solution for two channel audio recording at home or on the go.

BY ROB GEE

HITS • Improved A/D conversion quality • Newly designed casing and control layout • Large monitor control know for easy listening

MISSES • Not a major upgrade from the previous model

SPECS • Audo Processing: 24-bit / 48 kHz digital audio processing • Freq. Response: ±0.35 dB with guitar-level switching • Inputs: 2 TRS 1/4” inserts, 2 balanced 1/4” line inputs, 2 XLR mic inputs with selectable phantom power • Outputs: Balanced 1/4” main outputs with level control • Inluded Software: Ignite by AIR music creation software and Avid Pro Tools Express with iLok USB key • Size: 165 mm x 119 mm x 57 mm • Weight: 0.68 kg

Shure GLX-D Digital Wireless Guitar Pedal JANDS | (02) 9582 0909 | www.jands.com.au | RRP: $879

This is something I have wanted to see from Shure’s GLX line for some time now and I am glad it’s finally landed on my desk. Well, to be totally honest, it landed on my floor this time, as the new GLX-D Digital Wireless Guitar Pedal is just that, a pedal. Finally you and your Shure wireless system can free yourself from awkward receiver units balanced atop of your guitar amp and integrate the receiver into your pedal board where, your signal chain is likely to start anyway.

AT LAST

Well, ever since the pedal receiver idea came into the spotlight about 7 years ago, I’ve been waiting for Shure to deliver a quality wireless unit that integrated into the pedal board. Now they have done it, and they’ve done it well. To start with, you needn’t worry if your pedal board is already overcrowded, you should be able to make space for this unit. As it features a fast and accurate tuner with a large and easy to read display, you can take your old pedal tuner off the board to free up space for the GLX-D at the start of the signal chain.

The pedal unit itself is built like the proverbial and is ready to be trodden on in all manner of ways when affixed to your pedal board. So don’t worry, this unit will take the beating you are sure to deliver upon it. The screen and four function buttons are even protected by two raised side panels that don’t accidently engage the tuner and mute functions.

POWER UP

Shure have really thought this unit though, making it easy to integrate with just about any pedal setup. The receiver can work with a variety of power supplies, running anywhere between 9 and 15 volts and will even work with both centre negative and positive polarity power sources. So, you should be able to add this to your existing pedal power supply no matter what you use and have no issues. That means one less power adaptor and a lot less cables as the output of the receiver now only needs to be several inches in length to reach the next pedal in the signal path.

This is a very clever design that sees both the transmitter and receiver made form tough metal casings and offers a setup procedure that any musician should be able to manage. Best of all, when it is fired up you’ll be hard pressed to tell the difference between this and a guitar lead, even when used with a bass. The

PG.52 // MIXDOWN #255 // JULY 2015

A/D conversion is excellent and the quality of audio transmission is just what you would expect of a system of this calibre. If it’s going to be mounted on your pedal board, it will most likely be working on stage with you. So, you can know that when you are running the GLX-D Wireless Guitar Pedal that your audience will hear everything you play and hear it with all the tone your instrument delivers.

Nothing is lost in the use of this pedal, except those long cables you were always tripping over.

BY ROB GEE

HITS SPECS • Operating Distance: Indoors: Up to 30m with a maximum of 60m under ideal conditions.

• Outdoors: Up to 20m, with a maximum of 50m under ideal conditions.

• Power Requirements: 9 to 15 V DC, 250 mA min.

• Solid metal casing on both transmitter and receiver • Built in tuner on pedal • Pedal works with a range of power supplies • Quality digital audio transmission

MISSES • This should have been available years ago

www.mixdownmag.com.au

ROAD TESTS

Orange Amplification Crush 35Rt Guitar Amplifier Gibson AMI | (03) 8696 4600 | www.gibsonami.com.au | RRP: $449

Orange amps are utterly and totally iconic. The sight of an Orange cab on stage behind Mastodon or Jimmy Page just screams ‘cool.’ But nobody starts out using an Orange half stack, right? So what do you do if you idolize that tone but can’t afford the financial outlay or space for the full wall of doom? Or maybe you have the wall of doom for the stage but you need something much more compact for home or for teaching? That’s why Orange created the Crush range. These analogue solid state amps are designed to capture the tube-like roar of the big boys in a small, affordable, easy-maintenance configuration. We’ve reviewed the Crush Pro series of amps in these pages before, but for 2015 the line has expanded to encompass smaller amps.

CRUSH ’EM

There are four models in the new series: Crush 12, Crush 20, Crush 20RT and Crush 35RT. Apart from the Crush 12, each has the same high-gain four-stage preamp design as the original Crush amps, and as you move up the line you get more and more features and power. The 35RT is 35 watts with digital reverb, a fully-buffered lowimpedance effects loop and a 10” speaker, Orange’s custom Voice Of The World driver.

The controls are Clean Volume, Dirty Gain, Bass, Middle Treble, Dirty Volume and a channel selector switch, with the integrated chromatic tuner and Reverb located below the main controls. The reverb is voiced to sound like a spring unit and it features an analogue dry-through signal so your natural amp tone

runs alongside the reverb instead of getting swamped by it. The tuner’s LED array might be a bit difficult to see from some angles but for the most part it’s quite visible and very effective.

FRUIT SALAD

One of the great things about this amp is that the clean channel really stays clean all the way up to full volume, which means it loves being combined with overdrive and distortion pedals. Add reverb from the amp or throw on some ambience in the effects loop and you could do a whole gigs’ worth of songs on this channel alone. Dirty channel goes from slight grit to all-out saturated mayhem, and can be coaxed into a big fuzzbox kind of vibe which is great for garage rock and stoner styles. But there are plenty of rock, punk and metal tones in here too.

PANDORA’S BOX

The greatest thing about this amp is that it gives all players access to classic Orange tones in a very affordable, useable, portable format that feels very similar to a tube amp - okay, it’s not exact, but closer than most digital modellers - and in particular it feels, sounds, looks and smells like an Orange, just as it should.

BY PETER HODGSON

SPECS • Controls: Clean Volume, Dirty Gain, Bass, Middle, Treble, Dirty Volume, Channel Selector Switch, (below) integrated Chromatic Tuner, Reverb • Output Power: 35 watts • Speaker: Custom 10” Voice Of The World • Dimensions: 44cm × 40cm x 23cm • Unboxed Weight: 11kg

RocknRoller Multicart R12RT Dynamic Music | (02) 9939 1299 | www.dynamicmusic.com.au | RRP: $449

Of the team that I work with, three of us have been complaining about ongoing back pain these last few weeks, and generally there are even more of us complaining during the busy season. Let’s face it, very few musicians get away with just turning up to a venue and being able to perform without having to carry anything in. Most of us end up having to carry instruments, amplifiers and even PA systems from the back of the car into the venue to set up. What’s worse is that we often have to park that car a great distance from the venue or risk surrendering our payment for the performance to a parking fine. So, it’s not without wonder that many modern day musicians and DJs are constantly complaining about back problems. But, it really doesn’t need to be that way.

LET’S ROLL

Last month I took a look at the RocknRoller R6RT Multi-Cart, and this time around I got to jump on, push around and generally abuse his bigger brother, the larger R12RT “all terrain” Multi-Cart.

For those of you who hadn’t ever considered something like this, these carts are a really great idea.

I know many of us have gone to the hardware store and bought a cheap trolley that can help reduce the amount of trips back and forth to the car. But, these aren’t really designed with musician’s needs in mind and more often than not tend to end up destroyed after a few gigs and ultimately end up getting neglected and rarely used.

The RocknRoller Cart is a different story though. It’s ready for the punishment that most musicians will throw at it.

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FULLY ADJUSTABLE

Where the R12RT goes further than the R6RT is the size of what it can carry. With larger wheels, still offering the strength of the solid tires for that ‘go anywhere’ toughness, the R12RT is ready to work through a range of uses. Its ability to be set up in a range of positions means you can use it for just about any application.

For carting drum kits, amps, PA systems, guitars or DJ rigs, the R12RT is going to get the job done in the simplest fashion with as little stress on your back as possible.

What I love about this trolley is how much you can load up onto it for a single journey. When I had to unload the car this month with all the review gear I was working on, the first item to come out was the

HITS • Amp-like feel • Classic Orange styling • Loud!

MISSES • EQ section shared by both channels • Tuner can be hard to see

RocknRoller and then everything else was stacked upon that. I had no problem moving all the equipment around. I barely had a chance to test the weight capacity of the R12RT, but it didn’t seem to mind even having me jump up and down on it. The extended wheel base means you can work with a larger load, but it still folds up to the same compact frame for storage in the car boot. All in all, this is the obvious choice when you have large items like PA systems and drum kits that need to be moved around with ease and comfort.

By Rob Gee

SPECS • Load capacity: 227kg • Width: 34.3cms • Length: 86.4cm – 132cm extendable

HITS • Folds down to a compact size for easy storage • Sets up quickly and easily • Capable of large weight loads • No-flat tyres mean no issues

MISSES • You won’t miss the back pain when you use it

MIXDOWN #255 // JULY 2015 // PG.53

ROAD TESTS Alto Professional Black Series Powered Speakers Pro Audio Group Australia | (02) 9521 4844 | www.proaudiogroup.com.au RRP : $1379.99 (ALT-BLACK 10), $1549.99 (ALT-BLACK 12), $1749.00 (ALT-BLACK 15), $2099.99 (ALT-BLACK-SUB 15), $2299.99 (ALT-BLACK-SUB 18)

I first came across Alto Professional audio products more than a decade ago. What I found back then and what I continue to find to this day is that Alto do indeed deliver a product that meets the needs of those looking for something within a price point, but also a product that carries a mark of quality that sets it above what you would expect for the price.

So, when I first got to test drive a couple of speakers form the Black Series of powered PA solutions some months back, I was initially impressed by what I heard, but the range goes further than just a couple of speakers, so this month I had a look at the full power of the Black Series by Alto professional.

BLACK 10

This is one speaker that offers a lot of possibilities as it can take on a range of roles. It will be the obvious choice for a compact fold back monitor in a larger Black setup, and it can keep up with the front of house speakers that it has to contend with in this application. It also works a treat for mobile DJs and acoustic duos looking for a compact and portable powered speaker with plenty of headroom to cover a noisy room.

Even used as a single speaker in a small venue this works a treat for an acoustic guitar and vocal when you don’t need to be too overpowering, but still need to have a solid presence.

BLACK 12

The Black 12 is going to be the

most popular model by default is you ask me. It’s easy to get around with as the cabinet is not too cumbersome and it offers plenty of volume for its size. You get and increased lower-mid range with this unit that is lacking in the Black 10 and with the larger speaker, you move more air too, so as a stereo pair, it simply sounds bigger and fuller without ramping up the volume.

BLACK 15

The Black 15 is the speaker for those who want maximum punch and power in a single cabinet.

It has the clarity and projection of the Black 12, but the 15 inch speaker really delivers that additional power that many users may be looking for. In the absence of a sub-woofer, these speakers

work a treat as just a pair. They still manage to deliver a really powerful bottom end and are going to prove to be very popular with DJs who want a system that gives them the most amount of thump in the smallest amount of boxes. Two of these will sound like you are running a pair of 12s with a sub, yet they make load in and set up much simpler.

ALTO-BLACK 10

SPECS

BLACK 15SUB & BLACK 18SUB

The two subs in the range are where the real fun starts. For those wanting to hot up the Black 12 speakers with more low end thump the Black 15SUB offers a compact option that still delivers a punchy sub-bass response that works nicely with smaller powered speakers. It even works well with a pair of the Black 10s if you want a compact system with real power. If it is bass you are searching for, then the Black 18SUB is what you need.

I only got to drive one of these units with a pair of Black 15s, but that was more than enough for demonstrative purposes at home.

This unit delivers a serious bottom end that you not only hear, but feel too. A pair of these will really bring some power to any system whist not making it too overbearing for transport. Whist the Black SUB15 is an easy option for a portable PA, the Black SUB18 just dominates when it comes to power and low end thump.

Across the entire range, the Black Series has plenty to offer all manner of musicians. If it’s

portability or power that you need, there is something for you in these speakers and subs. The 2400 watt power amps in each model deliver the goods when they are called for and the wireless connectivity and control makes it easier to get them working the way you want them to in any space. They look mean, but they sound even meaner. Go and have a listen to a pair and see what you think. Every model might not suit your needs, but you will be sure to find something that does the job within the range.

• Power: 2400 Watts peak Class D power (1200 Watts continuous) • Built-in mixer: (2) Mic/Line inputs, volume control, XLR output • EQ controls: contour switch, Ground Lift switch, plus switch to turn off logo LED • Dimensions: • Alt-Black 10: 32.8cm x 34.4cm x 55.5cm • Alt-Black 12: 36.3cm x 37.1cm x 60.5cm • Alt-Black 15: 41.6cm x 44.3cm x 68.1cm • Alt-Black 15 SUB: 51.3cm x 63.8cm x 45.3cm • Alt-Black 18 SUB: 52.3cm x 72.1cm x 62.7cm Weight: • Alt-Black 10: 19.2kg • Alt-Black 12: 23.1kg • Alt-Black 15: 27.8kg • Alt-Black 15 SUB: 37.8kg • Alt-Black 18 SUB: 43.3kg

HITS • A solution for just about any sound reinforcement need • Lightweight and sturdy build • Plenty of volume in all models • Digital control over analogue power

MISSES • Slight lacking in mid-range warmth with certain models

BY ROB GEE

VOX Amplification AC10C1 Guitar Amplifier Yamaha Music Australia | (03) 9693 5111 | www.voxamps.com | RRP: $799.99

That classic Vox amp sound is unmistakeable. Jangly and chimey, from cleans through to overdriven ,and used by bands all over the world. From the well known AC 30 through to the AC15, and down to the AC4, Vox have kept the classic tones and looks alive with various reissues and incarnations. Bringing back another member of the AC family, let me introduce the AC10. Sitting in between the AC4 and AC15, the AC10 is a 10 watt EL84 based 1x10” combo. Originally offered for a short period of time in the early 60s, the AC10 is back with a vengeance, bringing even more top boost action to the Vox line of amps.

LITTLE VOX

Opening the box, I was greeted with that familiar Vox amp look.

The oxblood cloth with greenish diamonds, white piping and that gold coloured logo. It makes sense to stick with a winning formula, and at around 50 x 20 x 40cms and weighing in at 12kgs the AC10 is quite compact and manageable.

You can hoist it with one hand so should be fine for home, rehearsal or gigs.

GIVE ME TEN…

Gain, bass, treble, reverb and volume cover the amps controls (suitably with white chicken head knobs) which sit alongside a single On/Off switch. It features a single input jack on top and then an output on the back for an extension cab if you wish. Flick the amp on and add some level and you’re greeted with a pleasant clean sound with some mid rangey

grunt and top end. Although there’s only EQ controls for bass and treble the two seem quite interactive with plenty of scope around the dial. Add some gain and you’re getting that chokey Vox sound that jangles nicely with single coils or can push a little harder with humbuckers. The on board reverb is tasteful as a subtle wash and can then go up to bigger spacey tones if needed too. Rock, country and pop could all be goers in the genre department but really you’re only limited by what you coax out of this 10 watt fella.

BOOM!

10 watts might not seem like a lot but you might be surprised how useable this amp could be. No it isn’t a 2x12 AC30, but it gets that top boost tone. It can be pushed at lower volumes and will still cut it for plenty of musical situations.

Best of all, you can throw it easily

PG.54 // MIXDOWN #255 // JULY 2015

on the front seat and the price is nice. If you’ve looked at Vox amps but never taken the plunge, then the AC10 could be a good option for you. Likewise, if you’re a Vox fan/user and want those tones at lower volumes then you’re also looking in the right direction.

BY NICK BROWN

HITS SPECS

• Size and volume • Classic Vox Top Boost tone

• • • • •

MISSES

Output: 10W OHMS: 16 Ohms Inbuilt Effects: Reverb Tubes: EL84’s, 12AX7’s Weight: 12kgs

• Might be just a little shy in the volume department for some uses

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