Mixdown Issue 339

BRAND NEW AGAIN

EDITOR

Lewis Noke Edwards

PUBLISHING DIRECTOR

Patrick Carr

ADVERTISING AND PARTNERSHIPS EXECUTIVE

Liam Brazil

DESIGNER

Kelly Lim

CONTRIBUTORS

Rob Gee, Christopher Hockey, Mayari, Jamie Colic, Will Brewster, Paul Blomfield,

FOR ADVERTISING OR CONTENT PARTNERSHIPS advertise@mixdownmag.com.au

DISTRIBUTION distribution@furstmedia.com.au

ACCOUNTS accounts@furstmedia.com.au

PUBLISHER Furst Media Pty Ltd

FOUNDER

Rob Furst

editor's Note

Working for a media company is an interesting thing. We’re writing to and appealing to niche communities, yet the similarities between us all are pretty concrete. In fashion, there’s trends that come and go, and while it’s okay to try out different things, it’s often in the pursuit of settling on your own personal style in the end. In hospitality and nightlife, there’s different foods, beers, music and subcultures to explore— again, in the hope that you’ll find your own community.

In music, there’s also trends that come and go, there’s various genres having their moment (those moments all becoming very cyclical to a millennial entering my 30s), and it’s important to explore these in the pursuit of finding your own sense of style and your musical voice.

For breaking news, new content and giveaways visit our website.

All of the bands we worship, all the ones that inspire us, are the ones that did something outside of the box. They didn’t create something out of a vacuum, they pulled influence from all over the place, having found their sense of style, and built something new.

For this issue, our Effects & Processing Special, it’s important to think about how you can use existing effects, sounds, influence and processing to create something entirely new. Pull influence from everything you love and don’t get caught up in keeping up with trends.

Lewis Editor

Image credit:

Mitch Pinney

STUDIO CLASSICS READY FOR THE FUTURE

NEW

Designed for today’s studio workflows:

DT 770 PRO X & DT 990 PRO X

With today’s studio workflows in mind, the DT 770 PRO X & DT 990 PRO X features a 48-ohm impedance, allowing them to be seamlessly used with a wide range of playback devices—from professional audio interfaces to portable setups. The detachable 3-metre mini-XLR to 3.5 mm cable, including a 6.35 mm adapter, offers maximum connectivity.

The STELLAR.45 driver offers outstanding dynamics, low distortion and impressive detail with a frequency range of 5 – 40,000 Hz. In addition to ultra-soft velour ear cushions, the headphones feature an ergonomically padded headband with an integrated fontanelle cutout, which increases long-term comfort.

Like always, many of the components are easily replaceable, ensuring that the headphones remain an essential part of your personal studio setup for many years to come.

An investment, not just a purchase.

GIVEAWAY

ONE OF TWO TONEX ONE PEDALS!

Mixdown and our friends at Sound and Music are giving you the chance to win one of two TONEX ONE pedals! This little powerhouse puts IK Multimedia’s AI Machine Modelling technology onto your pedalboard, with world-class tone and total control over your sound.

• Hyper-realistic AI machine modeled amps, cabs and stompboxes

• Compact design with easy access to all major controls on stage

• Customizable LED colors make stacking or stereo rigs easy to operate

• Studio-grade EQ, compressor, modulation, delay, reverb, noise gate and smart tuner onboard

• Store up to 20 presets, with 250+ Premium Tone Models included

• Explore and load 45,000+ Tone Models on ToneNET

• Two Performance Modes: On/Off or Dual presets

• TRS output: Stereo, dual mono or headphones

• USB-C connection for loading Tone Models and recording

• Includes TONEX SE, TONEX Editor and AmpliTube 5 SE software

• Reloaded with 20 brand-new, gig-ready presets

To win, simply head to https://mixdownmag.com.au/giveaways/ to sign up! Good luck!

The wait is over. First units shipping.

The future of wireless pro audio is here — and it’s bidirectional. Featuring up to 64 channels (32 in/32 out) in a single rack unit, Spectera is the world’s first wideband, bidirectional digital wireless ecosystem and gives audio professionals unparalleled capability and flexibility. Spectera solves the complexity and hassle of frequency coordination once and for all, using a single wideband RF carrier to accommodate an entire production.

Product News

Ernie Ball ball ships new Jacquard Strap designs

CMC MUSIC AUSTRALIA | CMCMUSIC.COM.AU

The world’s number one polypro guitar strap is now available in five new Jacquard weave patterns, featuring machine-stitched leather ends with durable yet comfortable 2” wide polypropylene webbing. Adjustable extralong design can be used for any application. Strap length measures 41 inches to 72 inches at total length.

Sennheiser announces EW-D deals and your chance to win limited-edition Ruby Red HD 25s

SENNHEISER | SENNHEISER.COM/EN-AU

For those who have not yet made the switch to digital wireless, the month of June presents an ideal opportunity: participating Sennheiser dealers will offer discounts on Sennheiser’s EW-D wireless microphone and instrument

systems between 1 June 2025 and 30 June 2025. As a bonus, and to kick off its 80th anniversary in style, Sennheiser is releasing 80 pairs of special 80th anniversary edition Ruby Red HD 25 headphones. All that participants have to do for a chance to win is share their experience with Sennheiser’s professional wireless products here, no purchase necessary.

PRS Guitars announce 40th Anniversary McCarty SC56

ELECTRIC FACTORY | ELFA.COM.AU

PRS Guitars reveal the 40th Anniversary McCarty SC56 Limited Edition. With a classic PRS single-cutaway body shape and carefully chosen specifications, the McCarty SC56 is both a tribute to tradition and a reliable tool for the modern performer. Only 400 pieces will be made.

“We started with our take on a classic late ‘50s singlecut body. 1956 marks the year that Ted first had guitars made with his newly coined ‘humbucker’ pickups. It also happens to be the year I was born. Bringing vintage design into the modern era, we loaded this model with our McCarty III pickups, meticulously designed to deliver warm, clear, vintage tone with exceptional note separation and dynamics,” said PRS Guitars Founder & Managing General Partner, Paul Reed Smith.

FENDER MUSIC AUSTRALIA | FENDER.COM/EN-AU

The Limited Edition Mark Speer Stratocaster features DiMarzio Pro Track pickups, while the Laura Lee Jazz Bass Boasts Dimarzio Ultra Noiseless Jazz Bass Pickups and Vintagestyle Chrome Covers.

Fender guitars have been a core part of the band’s sound since its inception, shaping the tones that define their music. Designed to capture the essence of a decade’s worth of tone, style, and innovation, these guitars invite musicians to carve out sonic paths while channeling the sound that helped define a generation.

Denon DJ and their new, sleek SC LIVE 4 WHITE

ELECTRIC FACTORY | ELFA.COM.AU

The SC LIVE 4 WHITE takes everything DJs love about the original—Engine DJ, Apple Music streaming, onboard speakers, lighting control and standalone Stems—and delivers it in a sleek new white finish. No laptop required.

Whether you’re livestreaming from home, creating content, or commanding a crowded club, the Denon DJ SC LIVE 4 WHITE elevates every performance with powerful FX, dynamic controls, and a familiar layout modeled after Denon DJ’s flagship SC6000 PRIME and mixer series.

Markbass now shipping Andrew Gouche Signature Little AG 1000 58R

CMC MUSIC AUSTRALIA | CMCMUSIC.COM.AU

Markbass created the Little AG 1000 58R amplifier to suit Andrew ‘Godfather of Gospel’ Gouche’s individual requirements for both sound and playing style. Thanks to his exceptionalmusic production experience and finely tuned musical ear, the development process wasrapid and precise. With Andrew's deep knowledge of what makes a great bass sound,Markbass was able to customise frequency choices based on his direction, leading to hisstamp of approval: “Finally I have my sound!”

The dedicated limiter control enables a modern amp response when fully dialled in. Incontrast when set to zero it creates older generation behaviour, along with the typical‘distortion’ you can get when the limiter effect is kept really low. Select anywhere in betweento personalise your amp’s characteristic response.

The front panel of the Little AG 1000 58R amplifier also offers a convenient mute switch. Using the optional dual footswitch (FSW) you can remotely trigger the mute function, andalso turn the EQ section on/off.

MIDAS

announce new conversion options with hundreds of channels available

AUSTRALIS MUSIC | AUSTRALISMUSIC.COM.AU

Small in size, massive in capability— the MIDAS Console COBALT delivers up to 192 bidirectional audio channels at 48 or 96kHz over a single locking USB-C connection, straight into your Mac— with Windows support coming soon.

The HD96-AIR is a pocket-sized USB3 audio

protocol converter—and it’s a powerhouse. With up to 192 bidirectional channels at 48 or 96 kHz via Dual Redundant HyperMAC In/Outs, COBALT ensures ultra-reliable performance in even the most demanding live environments. Midas Consoles bring you the launch of the AS88, the highly anticipated addition to its converter lineup — a robust dual HMAC to 8-Port Dual Redundant AES50 Converter engineered to meet the rigorous demands of professional live sound.

Arturia introduce AstroLab 88

CMI MUSIC & AUDIO

| CMI.COM.AU

Engineered for liftoff, Arturia AstroLab redefines what a stage keyboard is all about. Combining an unrivalled sound palette with intuitive controls and seamless studio-to-stage experience, it empowers musicians to perform with confidence and limitless sonic freedom. This unites a responsive hammer-action keybed (Fatar TP-40L) with 40 onboard instruments, 1,600+ presets, updated CPU and the same forward-thinking ecosystem that lets artists perform with all their signature sounds –laptop-free.

Kali Audio: the SM-8 Powered Studio Monitor

KALI AUDIO | NAS.SOLUTIONS

Kali Audio has announced the SM-8, an 8-inch model in their top-tier Project Santa Monica, or SM-Series, line of studio monitors. Combining Kali’s proven 3-way coincident

architecture with uncompromising components and craftsmanship, the SM-Series delivers unparalleled imaging, accuracy, and detail for critical production applications.

The Kali Audio SM-8 is a 3-way monitor with an 8-inch woofer, and a 4-inch midrange with a coaxial 1-inch metal dome tweeter. Like Kali’s acclaimed IN-Series loudspeakers, the SM-8 is an acoustic point source, and special care has been taken with the unique geometry around the midrange to ensure a seamless transition to the edge of the speaker.

Verbox: your one stop shop for acoustic treatment

VERBOX | VERBOX.COM.AU

Acoustic treatment is something that we’ve all dipped our toes into whether we realise it or not. That stylish rug in your little home studio? That’s helping to prevent echo between the wall and the floor. The couch? That’s absorbing low end if it’s tucked into a corner.

But what about more controlled environments? Rugs and couches can be too broad for detailed acoustic treatment, and even building your own can be a whole other wormhole, requiring proper tools and materials. That’s where Verbox come in, producing a huge range of products for music makers of all levels. They can help you absorb flutter and control rooms with their V-Panels, available in various colours and designs to suit your aesthetic, while they’ve also got packages of hooks, chains and brackets to connect, hang and suspend your panels.

There’s something for everyone, with packages available as well as individual panels and even raw panels available, made from high density, 100% allergy and irritant free polyester insulation. Wrap and mount these yourself or leave them as is! What’s more, Verbox also have installation services that involve—you guessed it— expert installation of their products, as well as room measurement and assessment to further refine your listening experience, also consulting to ensure you understand the entire process.

Verbox’s expertise ranges from the home studio to the live venue to studio, having solutions for everyone at reasonable prices. Monitoring, switchers and speakers are fun, but a lot of that is in vain if your room struggles with the sound being pumped into it. Verbox can help you treat your room for better music— whether making or just listening!

Product News

Countdown to four new pedals from Tonecat!

@THETONECAT

Made in Melbourne, ToneCat have four new pedals launching July 1 on their Reverb store. “Claw & Order OD” offers crunchy justice, while the “Rat Trap Distortion” has vintage rat snarl on tap, uniquely Tonecat-tuned. The “Blankslate OD” is your chaos canvas, while the “Skyclaw OD” is a Blankslate engine with wings. Pre-order now to lock yours in!

New Shure innovations bring transformative scalability and flexibility to leading wireless systems

JANDS | JANDS.COM.AU

Shure has introduced new levels of scalability and flexibility to its best-in-class wireless systems, including the ANX4 Scalable Wireless Receiver, the ultimate high-tier, highchannel count wireless receiver is the first Shure wireless receiver featuring channel scalability,

offering up to 16 channels of Axient® Digital or 24 channels of ULX-D® in a single device via channel licenses. ANX4 hardware is available this fall through authorized dealers. Channel licenses can be purchased through authorized dealers or at Shure.com.

Soundtoys announce SpaceBlender 5.5.1 Software Update

SOUNDTOYS | SOUNDTOYS.COM

SpaceBlender updates are here! They’re excited to make their latest plug-in run even better in your DAW. Log into your Soundtoys account to download the latest installers.

• Fixes blurry GUI on certain monitor settings on macOS

• Fixes excessive CPU usage in some scenarios

• Improved accuracy of offline rendering with automation

• Fixes automation enable dialog for time/ beats parameter in Pro Tools

• Fixes issue where locked parameters wouldn’t remain red after closing and opening the GUI

• Improved efficiency of parameter changes

Focusrite announces Thunderbolt and Dante interface: the RedNet TNX

FOCUSRITE | FOCUSRITE.COM

Focusrite recently announced the RedNet TNX, a flexible Dante® interface that delivers high channel counts, ultra-low latency, and powerful audio workflows to any PC or Mac with an available Thunderbolt™ connection. The release marks the first new offering in Focusrite’s RedNet range since RedNet PCIeNX in 2023. The new RedNet TNX, however, enables users to pass audio via Dante to and from a computer without having to install a PCIe card.

J. Rockett and Phil X team up for the PXO!

When J. Rockett sent Phil X the overdrive sample he found that it saved him in backline situations and provided him a drive that plays well with others.

The Phil X PXO is an overdrive/boost where you can select pre or post giving you variety in how you want to boost, EQ and overdrive. Featuring standard controls on the overdrive side such as Volume/Gain/Overdrive and EQ but on the boost side, you have a separate Tilt EQ that allows you to EQ with simplicity. The PXO is powered by a 9 volt Negative tip adaptor and a 5.5mm x 2.1mm jack with a 28mA current draw.

Guitar and bass virtuosos confirm exclusive Australian dates with VIP masterclasses included

THEPHOENIX.AU

Two of the most influential musicians of the digital era, guitar maestro Bernth and bass phenomenon Charles Berthoud, are stepping out from behind the screens and onto the stage for groundbreaking Australian tour Escape the Internet.

This unique series of live events brings together their signature virtuosity, onstage chemistry, and direct engagement with fans in an electrifying celebration of modern musicianship. Escape the Internet tour dates:

• Friday October 31 – The Tivoli, Brisbane (All Ages)

Saturday November 1 – Northcote Theatre, Melbourne

• Sunday November 2 – The Metro, Sydney (All Ages)

• Tickets: On Sale from 9am Thursday 5 June.

BIGSOUND 2025 artist lineup announced!

BIGSOUND.ORG.AU

2025’s lineup is one that BIGSOUND is fiercely proud of, testament to the vision of Festival Programmers Casey O’Shaughnessy and

Katie Rynne, as well as the talented Programming Advisory Group, specifically selected to assist in the curation of the 2025 Official Showcase program.

Among the announcement are the likes of WAFIA, KAIIT, Inkabee, Azure Ryder, The Southern River Band, Hatchie and so many more.

Over 120 acts will perform across the 18 stages at BIGSOUND this year; from rock and pop, to country, R&B, folk, punk, electronic and hip hop, there truly is something for everyone to discover and fall in love with.

Ho99o9 announce Australian tour dates!

THEPHOENIX.AU

Ho99o9 don't care about money or fame. They rarely, if ever, do media appearances or interviews. No social media attention whoring. No publicity stunts. They prefer to let their art and their legendary, volatile live shows do the talking.

This August will see Ho99o9 team up with their friends and accomplices in THE DILLINGER ESCAPE PLAN for a set of Australian shows that will see the unrepeatable coming together of two of the world's most legendary live bands. Ho99o9 Australian tour dates:

• Sunday, August 10: Metropolis, Perth

• Tuesday, August 12: The Gov, Adelaide

• Wednesday, August 13: Northcote Theatre, Melbourne - SOLD OUT

Thursday, August 14: Northcote Theatre, Melbourne

• Saturday, August 16: The Enmore, Sydney

• Sunday, August 17: The Tivoli, Brisbane

Jacob Collier is coming to Melbourne this December

FRONTIERTOURING.COM/JACOBCOLLIER

Heralded as one of the most groundbreaking artists of the 21st century, singer-songwriter, producer, and multi-instrumentalist Jacob Collier has announced Australian dates. The highly anticipated tour sees Jacob Collier and his band bring this immersive live show to fans in Brisbane, Sydney and Melbourne.

Joining as special guest on all shows is three-time Grammy nominated Australian songwriter, vocalist, and guitarist, Nai Palm. Jacob Collier tour dates:

• Tuesday 9 December – The Fortitude Music Hall, Brisbane, QLD

• Thursday 11 December – ICC Sydney Theatre, Sydney, NSW

• Saturday 13 December – Margaret Court Arena, Melbourne, VIC Sebastian Bach to perform Skid Row’s self-titled debut in November!

DAVIDROYWILLIAMS.COM

Rock legend Sebastian Bach, the unmistakable original voice of Skid Row, is set to reignite Australian stages in 2025. This time, he’s bringing a full-throttle performance of the album that launched a rock revolution – Skid Row’s self-titled debut, performed in its entirety for the first time on Australian soil.

This tour is a massive celebration of a record that changed the face of hard rock and heavy metal – delivered by the voice that made it unforgettable. Fans can expect an explosive set featuring hits like ‘Youth Gone Wild,’ ‘18 and Life’, ‘Big Guns’ and ‘I Remember You.’

KHRUANGBIN

implore you to make music your

WORDS BY LEWIS NOKE EDWARDS

own way

Khruangbin are pushing sonic boundaries, having developed a uniquely dancey style of deceivingly complex music, making it sound easy. Pulling influence from all over the globe, bassist Laura Lee and guitarist Mark Speer, along with drummer Donald "DJ" Johnson craft groovy and otherworldly music for audiences across the planet.

Armed with their trusty number ones, a Fender Stratocaster for Mark and a Jazz Bass for Laura, Fender has recently announced a pair of signature model instruments for the pair. Mark’s Limited Edition Mark Speer Stratocaster serves as a chance to honour the guitar that has served him on stage for years, as does Laura’s Limited Edition Laura Lee Jazz Bass.

Chatting to them before a show in Texas, Laura and Mark are so excited about their new signature models, though acknowledge that they both know what works for them as musicians - so why try to change it up?

Mark’s Limited Edition Stratocaster is, aesthetically, very 70s. It features a natural ash body and finish, the bullet truss rod screw being a nod to its 70s heritage, this design having been used throughout the 70s and early 80s. The humbuckers are DiMarzio Pro Track humbuckers,

with a Vintage-Style ‘70s single-coil Strat pickup in the middle position.

His guitar features a Custom “C”-shape neck with a 7.25” radius, being familiar to players of vintage Strats, more modern guitars featuring increasingly flat fretboards for modern styles of playing. Also notably, Mark’s Strat comes standard with flatwound strings, lending further to the warmth and fatness of his tones, allowing him to slip more seamlessly into the hypnotic grooves that Khruangbin are so known for, without any harsh electric guitar sounds waking us from the hypnotic grooves.

Mark’s Stratocaster features the same HSH as his previous main guitar (used almost exclusively through Khruangbin’s career), the pickups having been accidentally wired out of phase, but serving to provide the unique brittle and bright tones that Mark uses throughout Khruangbin’s catalogue. This continues in his signature from Fender.

His Strat also features jumbo frets, a far-cry from the 70s style Strat’s originals, though Mark explains he found a penchant for jumbo frets after playing for a church band where he’d be playing for eight hours a day, and simply wore through the originals in a matter of months, having been made of nickel.

Laura’s bass follows a similar story, having played the same bass on stage for years, albeit with a few modifications, some of them thanks to Mark. Funnily enough, her original bass had vintage, open-style tuners that wound the wrong way, either having been installed backwards or simply designed that way. Laura laughs, recalling the first prototype arriving with vintage tuning machine heads that operated correctly, which she promptly had… uh, corrected. The tuners on Laura’s bass wind backwards, just as she’s grown accustomed to.

Finished in a vintage white Gloss Polyester, and coupled with an Alder body, Laura’s bass will feel familiar to all Jazz bass devotees, the pickups controlled by stacked concentric controls for volume and tone, while the ever so classy thumbrest as well.

Completing the look, Laura’s bass also features the addition of the oh-so 60s ashtray bridge covers and pickup cover, complete in nickel chrome to match the other hardware, the ashtray bridge covers having earned their name thanks to Fender factory workers having used spare covers them as ashtrays when working in the factory in days gone by. But Laura’s ashtray bridge cover serves a secondary purpose: to preserve the foam tucked into her bridge as a mute. She uses this for a more controlled sound than just palm muting, giving her bass playing a warm and rounded sound.

Laura’s bass also features DiMarzio Ultra Jazz pickups, the bridge pickup on her original bass being noticeably noisy before it was replaced by Mark for an anti-hum version.

We pivot here a bit to the live show, Khruangbin not using many effects, instead choosing to toggle between pickups and playing techniques, their stage instruments offering a wide swathe of sounds for their expanding sonic palette.

This philosophy extends to the studio, their latest record A La Sala having been written, produced and recorded entirely with the live show in mind. While the studio offers endless

opportunities for overdubs thanks to digital audio, Khruangbin are acutely aware that their music will need to be performed live, and performed well. Despite the availability of technology to help them replicate just about anything, the additional variables prevent them from having room to improvise and adapt on the fly, something Laura and Mark thrive on, along with bandmate Donald "DJ" Johnson.

Speaking to this further, Laura implores musicians to make music for themselves and ignore the pressure of trends, labels and their own anxiety to make ‘safe’ music, discussing that one of two things will happen:

Firstly, you could make a record to appease the ‘safe’ option, and it could go well, earning you new fans of the sound, but backing you into a corner with added pressure to continue making this style of music.

Secondly, the record could be a flop, having served as a waste of time, leaving you with a record that you aren’t passionate about, nor was it received well. She continues, explaining that a record you love, can still flop commercially and give you the satisfaction of making music you wanted to make— so you might as well! Wise words from someone who plays in a band so distinctly in their own lane.

Speaking further to this, Laura implores fans who purchase her signature Jazz bass to make their own music, instead of using it as a vessel to achieve the closest possible sound to hers. Mark nods along, and Laura acknowledges that you can achieve similar sounds to them easily, but she hopes her and Mark’s signature instruments inspire musicians to think outside the box.

The Limited Edition Mark Speer Stratocaster and Limited Edition Laura Lee Jazz Bass are available now from Fender.

Eric Peterson discusses Testament’s history, and being titans of music creation

WORDS BY LEWIS NOKE EDWARDS

Testament have built a huge legacy in metal no matter which way you look at it, having released their first album, aptly named The Legacy in 1983.

Touching down this month in support of Titans of Creation, their 13th album, guitarist Eric Peterson knows a thing or two about making records and performing them.

Chatting to us from his home in Northern California, Eric talks us through his live experience, having gigged since the 80s.

“Having a handle on what guitar works for what you do,” he begins. “In the beginning I had some good guitars, but not for what we do. I remember our first record I had a BC Rich Mockingbird with a Kahler on it. “

“It was a great guitar but it didn't work very well in the studio, so y’know I had to use someone else’s guitar which was really weird.”

Eric continues, getting a bit more high level with his answers, discussing that confidence in what you do influences your sound and style more than anything else. Learning songs, learning what works live vs. what doesn’t, Testament now having a huge catalogue of songs to choose from, even when touring in support of a specific album.

“We can now pick and mould how we want

to express ourselves,” he says, referring to the choice of songs in a setlist. “‘Cause you feed off the audience and you see what they like. There’s definitely times where we really though ‘Oh, this is going to be great!’ and the crowd’s just like—” he smiles, imitating a motionless audience member with their arms crossed.

“But then [the crowd] would go off on another song, and it’s like ‘Okay, they like that kinda stuff.’”

Eric expands further, saying that after playing as many shows as they have, picking a setlist that a crowd will enjoy is easy, though the difficult part is ensuring they try to play something off as many albums as they can.

“But this evening in the States, we made a lot of people happy because it was just us, it was our show. We played, we told stories, we took our time.” he explains. “We got acoustic guitars and played all our ballads, we played some deep cuts. It was really cool.”

In the recording and writing world, Testament have also evolved since the 80s.

“Back then, things were different, technology was different. A lot of the times when we jammed as a band we had a cassette player with a shirt over it to muffle it, you could take that cassette to your car and listen to your practice.” Eric explains, and I chime in that we still do the same thing today, albeit with an iPhone muffled by a shirt to prevent clipping and distortion.

“You had to imagine what it would sound like better, in the studio, but you wouldn’t want to play that for anybody.” he laughs.

Eric continues, explaining that the internet has been a revelation for the band. It allows him to jam ideas and email them off to band members who can record themselves over his ideas, all the while with a catalogue of saved files and versions.

The advantages of digital are endless, though it can be easy to fall into the trap of adding layers, harmonies and textures that are difficult, or impossible, to pull off live.

“We’ve learned our lesson.” he says. “It sounds amazing but like ‘How are we gonna do that live?’”

“Even now, we get carried away, Chuck [Billy, vocals]’s like ‘Let’s put this here and then—’ and I’m like ‘Who’s gonna do that?! I’m not doing that, I can’t sing like that.’” he chuckles. “We’re a little bit more conscientious and we stick to what we know we can do.”

“There is stuff that if it really calls for it, you’ll do it, and maybe that’ll be an ‘album song’.”

Speaking of album songs, Eric moves to discussing Testament having been involved in recording themselves since late 80s, initially using ADAT, as well as further production with bigger name producers like Michael Wagner and Andy Sneap.

“So now, I just record at home with Logic, I DI all my stuff and it’s mixed elsewhere.” he laughs, before speaking about the workflow of an album that’s currently in the works. “I’ve been mixing at night with Jens Bogren in Sweden.”

“We’re doing this screen sharing thing where I get to hear in real-time what he’s doing, rather than waiting until the morning to go ‘turn this up, not that’, then having to wait another day. You can hear it right there and then.”

Testament land in Australia in June for five blistering shows around Australia. Tickets on sale now!

Having cut their teeth as a live band, Haters travelled to Canada to work with producer Scott Middleton.

WORDS BY LEWIS NOKE EDWARDS

Despite their band name, Haters are a calm, professional and lovely group of people. Their debut record Non-Violent (much more fitting to the smiling demeanour of the three-piece) is out now, having been produced by Scott Middleton, whose production credits have grown after he departed Cancer Bats to focus on producing records.

Scott joins us from Canada via Zoom, and we all share a laugh as the engineer and producer of the record, arguably the most experienced and professional of the lot of us, forgets to unmute his mic.

“A classic mistake!” he laughs.

Haters are a three-piece band, with Jai on guitar and vocals, Jimmy on drums and Kaito on bass. Less members usually allow for a more streamlined workflow, fewer chefs in the kitchen per se, but as Jai explains, they’re keen for everyone’s input.

“I usually come in with a bit of an idea,” he begins. “But as the band has evolved, the ideas have been less and less because it’s really fun to do it together.”

“But working with Scott, we wrote about thirty songs— or thirty ideas. We tried to have them written less, if that makes sense, because we learnt so much from hanging out with Scott, so I guess that’s it. I write all the lyrics and we go for it.”

Bringing a producer into the creative process can put a lot of responsibility on them, but the band and Scott has already worked on a handful of songs together, so the working relationship was there.

“For me, a strong focal point is always the lyric.” explains Scott. “I don’t love listening to an instrumental without vocals, because it doesn’t give me proper context.”

“I’ll ask Jai a lot of questions revolving around

the lyrics, and he’s never short of explaining that, and so that’s always a driver. I want to understand the emotional intention of the song so that we can focus on the arrangement and the instrumentation matching that same energy.”

Scott continues, explaining that he and the band worked through demo sessions via Zoom, the band in a jam space and Scott at his studio, providing feedback to the band, albeit with the latency of streaming across to the other side of the planet.

Scott loves that Haters left room for magic and collaboration to happen, citing Kaito coming up with call and response parts on “wander// wonder”, totally transforming the song.

The entire process was about collaboration, and they were keen to create unique and distinct songs, having explored every avenue to ensure things were the best they could be.

“I remember in “Jimmy Says”—” begins Jai. “A big part of working with Scott was surrendering to being open, and I remember “Jimmy Says” had three choruses, and Scott said ‘Yeah let’s just cut all those choruses and make it three verses and an outro.”

Had Jai’s hard work on the lyrics all been in vain? He slept on the idea, allowing it to happen, and woke up the next morning for a fresh listen and couldn’t believe they’d ever considered doing the song any other way. Scott isn’t in the business of hacking songs apart, instead he’s trying to find the crux of a song and highlight it, the profound lyricism in the verses of “Jimmy Says” being a perfect example.

Bringing in a producer was a logical choice for Haters, not because they need the help, but they want to become better songwriters themselves.

“It’s tricky, writing songs to me is really quite a personal experience,” explains Jai. “You really have to gel with someone to have them incorporated into that part. It’s like getting band members, it’s like getting married or something!” he laughs.

Back to the role of a producer, Jai says that it’s about getting someone to push you, citing

Scott’s ability to pull the best performances out of the band, despite it sometimes taking hours. Live, they now play those parts they struggled with perfectly.

“It’s crazy to think such a simple drum part could’ve worked, but I didn’t think of it.” Jimmy adds. “But with fresh ears, I’m like ‘Why couldn’t I have just done that?’”

We pivot here to discuss the live show vs. the recordings, Haters making a special effort to ensure the songs don’t fall apart live, while still making the record as exciting as it can be. Bass player Kaito would practice at home flashing lights to replicate a stage, calling it her “concert simulator” and Scott used this idea while recording to ensure the excitement and energy of Hater’s live show was there.

Having to travel internationally, Haters used a lot of Scott’s equipment, rather than shipping their own equipment over at great expense. One piece that made the record though, is a Mesa Lone Star Special that Scott bought specifically for the record. Jai uses this amp at home, and Scott— eager for an excuse to buy another amp, found one locally and snapped it up, using it across multiple songs on Non-Violent.

It’s also an excuse for Haters to explore a heap of new gear, Jimmy having the chance to dry different drums and really hone in on his snare choice, Jai using a fancy Nik Huber and for one song used an old Yamaha nylon-string tuned to C that someone had left in Scott’s kitchen.

Inspired, Kaito grabbed another guitar, tuned it down, and a song was born from that fleeting moment, strumming on an old de-tuned guitar.

The name of the game is leaving room for the songs to evolve, as too rigid a workflow wouldn’t allow for these moments to happen. Haters are weary of overwriting songs, instead leaving room for the magic between them.

Non-Violent is out now, with Haters travelling the world to play it for you, with a few new songwriting tricks up their sleeves, their live show will be turning Kaito’s concert simulation into the real thing!

Ableton Move: a formidable musical sketchpad and accessible performance companion

WORDS BY MAYARI

I'll be honest— when I was first asked to review Ableton Move, a part of me was a little skeptical about how useful I’d find it, even with updates rolling out since Ableton Move 1.5 was announced at Superbooth.

I've been an Ableton user for years, and have been really happy with my current setup. I use a Push 2, my laptop, an AKAI Mini, a bunch of guitar effect pedals, a Moog Grandmother and a boutique JU-06A. If I’m being honest, Ableton Live on my computer feels like enough in itself!

I'm also deeply passionate about accessibility— making good music without needing a mountain of expensive hardware or the latest plugins. I've always been intentional about resisting the urge to buy new gear just for the sake of it. Also, I will say when I first saw the Ableton Move itself - my thinking was that it looked like a basic version of the Push 2, asking myself ‘How would this be useful to me?’

Now, with the arrival of more comprehensive MIDI updates, like pertrack configurable simultaneous MIDI input and output as well as MIDI syncing via MIDI Clock input, syncing to external hardware is easier than ever, elevating the Ableton Move.

In a strange and timely way, this review opportunity came at just the right moment. Winter is here, which is usually my season for writing and going into my creative cave. While I’m proud of my previous releases, many of them were born out of deadlines: grants, university assignments and external timelines.

This time, I’ve wanted to write without the pressure of a due date. I want to take my time, explore and experiment. One of my biggest creative challenges I’ve had is finding a musical voice that feels truly authentic to me. I think some of my last releases were unconsciously shaped by this need to prove myself— especially as a female producer in a male-dominated space. I’ve felt for a long time this unspoken pressure (whether in academia or in the music industry) to move away from vocal-led electronic music. To be taken seriously, and to be “bookable” it felt like I had to lean more towards either super experimental or club-focused, DJ-friendly tracks, even when that didn’t align with what truly felt like me.

So here I am, wanting to really dial-in to making music that is authentic, without any noise, and to take my time playing and exploring new ways of creating. I’ve recently started collaborating with musicians who aren’t producers. Being open like this has helped me shake up my usual ways of working.

The first thing I noticed when setting up the Ableton Move? It was so easy. All I had to do was connect it to Wi-Fi. Done. That alone was refreshing. I’m used to having to troubleshoot constantly when producing. Now, I’m up and running in moments.

Pretty quickly, I saw the creative potential. Because Move is a standalone device, I was just sitting on my bed making music. No laptop, no screen. As someone who spends a lot of time working on a computer, staring at a screen all day, sometimes it can be hard to feel that separation between work and music. The fact that I didn’t have to look at a screen and could create with this super-portable lightweight thing on my bed - or could just chuck it in my bag to sit in the park and create, was great. It was nice to feel like I could really switch off and get out of my head in a way.

On the go, you can also record audio directly from devices like a

phone or computer into drum pads or the Melodic Sampler via USB-C, or send audio out elsewhere over USB-C. This kind of connectivity has elevated Move to something that is as powerful as you need it be!

Updates also bring more Arpeggiator Modes to Move, for instant melody and harmonic information to my arrangements. The Move allows you to load up four tracks— which can be instruments, drums, samples, etc. and layer in some effects.

At first, I thought that might feel limiting. I'm a bit of a maximalist sometimes: I love my plug-ins and my intricate layers. But this ‘limitation’ is actually kind of powerful in a way. At the end of the day, what makes good music is really getting your foundations right. All you need is a strong groove, a solid bassline and melody. The rest is all icing.

Sometimes though, I get lost in the icing. I can spend hours sometimes getting lost in perfecting the right blend of oscillators, automating reverb tails or EQing the perfect kick - before even laying out an idea... sometimes this actually slows down the creative process and gets me deep in rabbit holes and obsessing over the finer details. The Move stops all that.

As someone who is a trained producer and not a trained musician, I am so used to drawing melodies and rhythms. I’ve never been a finger drummer or a pianist and in a way— but the tactile nature of Move pushes you to really just trust your instincts and be really intuitive which is great. Thankfully it has Scale Mode functions though, and the step sequencer with the ability to Quantise, and Apply Groove was enough producer tools to help lay down ideas quickly in a tactile intuitive way.

I recently finished Rick Rubin’s The Creative Act: A Way of Being (and before you roll your eyes, hear me out!) One thing I took away from that book was the idea of viewing musical ideas as seeds. The goal isn’t necessarily to finish a song every time you sit down, but to cultivate little ideas that might grow into something more. It’s about

building the habit of planting seeds.

That’s where the purpose of Move really shone for me. It’s light, portable, easy to grab and go— perfect for planting creative seeds. While I didn’t come up with anything during this review that I wanted to develop further, just having the space to make something— knowing I could later that I could easily and seamlessly transfer it to Ableton Live as its own project makes it a really cool workflow integrated creative tool.

If the Move, even before this recent update, could be described as anything, it can be used as a solid ‘seed planter’. It helps you focus on the foundations of the track, without distractions and without screens. It’s like a solid, musical sketchpad. I found myself using it to bounce ideas around and get a song flowing, before jumping onto Ableton Live itself to dive deeper into my newly sketched idea. That’s not to say that Move isn’t a great option for use on its own, with the update making Move more easily integratable into more involved music-making than just planting seeds.

The simplicity of it though, makes it a great option for live performance, and I have already begun to see some artists use it for live performance pretty effectively.

If you are in a place where you are curious about new methods of writing, want something portable for when you get ideas (seeds!) when you are out and about, this could be a great tool to experiment with and keep with you on the go. It may replace your current setup and processes, but that’s not the point. It's there as a companion and another tool to add to your toolbox.

Tom Thum and Paulina discuss collaboration, Ipswich and recording beatboxing

WORDS BY LEWIS NOKE EDWARDS

Their collaborative single "Jaded" is built from beats and samples of everyday items, coupled with Tom's otherworldly talent and Paulina's infectious energy.

Collaboration is no mean feat; we’re all trying to have our say, and often we can find ourselves frustrated, misunderstood and back to square one. Not for vocalist Paulina and beatboxer Tom Thum though, whose viral collaboration “Focus On Me” helped to reignite Paulina’s workflow, while simultaneously pushing Tom into a new world creatively. The duo are back with “Jaded”, a more pared back track compared to “Focus On Me”.

Hey guys, thanks for taking the time. How did you initially connect and what made you want to collaborate?

A mutual friend of ours introduced us to each other back in 2021 at an event we were both at, and then we finally got in the studio together for the first time towards the end of 2022! We had such a fun time and basically have been creating together since. It’s also so dope that we’re both from Ipswich and that we only live like 15 minutes down the road from each other #ipswichrepresentttt hahaha

You’re both performers who are experienced at and able to improvise – how much of the new single “Jaded” was vibed out vs. more explicitly ‘written’ per se?

I remember coming into the studio to work on a different song with Tom but before we jumped into that session he pulled up this instrumental idea he’d started working on the night before. I instantly fell in love with it and hella vibed to it! I remember rushing Tom to pull up the actual Ableton session so I could lay some vocal ideas down because I had a tonne of melodic ideas come to me straight away that I didn’t want to forget. Everything just flowed so naturally with this song and was genuinely maybe the most fun I’ve ever had making a song.

Tom, I see you use various mics to amplify and record yourself – what makes a microphone an ideal candidate for your use?

Oooh good question, well it depends what scenario I am using it in. For live I love something with a high SPL tolerance because I REALLY get personal with mics live haha. But generally I like a good bottom end response and a rounder smoother top end.

Paulina — do you find it difficult to trade off ‘lead’ parts with Tom?

No not at all! If anything I think we blend really well together and it feels really natural when we’re recording together. I think it’s because we’re both just so open to experimenting with all ideas and aren’t afraid to take the lead nor are afraid to let the other person just do their thing. Plus, I just think we both really appreciate what each other does, like I think so highly of Tom and I love to see all the random cool ideas he comes up with, which then in turn inspires me to go places with my parts where I perhaps wouldn’t usually go.

What does the recording process look like for recording beatboxing? Are you recording as you would perform or do you prefer to record parts isolated so you can have more control mixing?

Generally I will record everything in one go and then separate the elements out, i.e. splitting kicks/snares/bass and hats onto separate channels for more control. If I’m going for a more natural sound I generally compress it a fair bit and angle my face away from the diaphragm so I don’t get too much blow out (I don’t record with a pop filter), and then I’d use a transient designer and maybe roll in a bit of bass and just keep it all as one single wave.

Is there any thought of having to perform this live while you’re writing and arranging?

For our last track “Focus On Me” we were very conscious of that, however our latest tune is mostly sampled instruments and found sounds so it would probably be pretty hard to bring all the things we’d need around with us haha. So we just thought we’d stack it to high heaven!

Goldentone: a legacy brought back to life

WORDS BY LEWIS NOKE EDWARDS

Goldentone Amplifiers have a deep and rich history in Australian music.

Harkening back to the 50s and 60s, their sound and tonality bleeds into decades of Australian musical influence. Their tubey crunch and bright disposition elevate them to a league all of their own, with sonics that aren’t unlike other famous amplifier sounds, but also entirely unique in their response.

More recently, Colin Leadbetter of Nepean Music happened upon the trademark for the Goldentone name for sale, and has now taken on the job of bringing Goldentone back to life.

Goldentone debuted at this year’s Melbourne Guitar Show, with a handful of amps at various stages of production available for the masses to try and hear, blowing away the small crowd that surrounded their booth. In addition to amplifiers, Colin also has plans for some of the famous Goldentone sounds like tremolo, reverb, overdrive and distortion in pedal format, in partnership with an Australian pedal maker, as well as instrument and cabling solutions.

“The first run of these amps is expected to happen later this year,” begins Colin. “It’s unfolding at the moment and it’s going to be re-birthed.”

“[The beginning] was coincidental and opportunistic, but ultimately I found the trademark for sale— the rights to the name.”

“I’ve always been very into the history.” he says, referring to the wider world of Australian guitars, amps and gear. “There was one very notable amplifier that lived at Sing Sing, the old Platinum Records building there. I used that amplifier a lot there. It was an old Goldenton 1755, it was one of my key experiences I suppose. So I was very aware of Goldentone, and its Melbourne-based history.”

“We thought getting our own amps built, and making a way forward for the brand would be five or six years. Right at the time that I got the trademark, I was having a conversation with a well known guy in Melbourne named Phil Bowen, who’s very well known for re-tolexing vintage amplifiers.”

As fate would have it, Phil knew an amp

technician, Tim Occleshaw, who happened to be in Mornington, nearby to Nepean Music, who has an extensive knowledge of Goldentone.

“So thanks to [Tim’s] technical skill, we’re 12 or 13 months in and we have prototypes built.”

Excitedly, Colin expands further on what he loves so much about Goldentone, and the design elements he uncovered that made Goldentone amps sound the way they do.

“Via Tim, I’ve been able to say things like ‘I love how the 1755 212 combo from 1964 sounds, but I do like the extra gain and sizzle I get out of the 1758 from that era’, and he can look at the circuits, he’s able to take my generalised ideas and make them into a workable reality.” he says with a grin.

“It’s not to say we’re not going to find things challenging, but so far it feels like every part we’ve needed has someone falling at our feet. This has really come together, the right people at the right time.”

In pursuit of staying true to the original designs, the transformers in the amplifiers are also being hand-wound in NSW with a very rare Magnavox transformer winding machine from the 1930’s.

“We’ve found ourselves trying to improve on the elements of the older amplifiers, but on the other hand, Goldentones run on very unusual tubes.”

Colin expands further, referencing the 6GW8 tubes. They’re not found in any other major brand of amplifier, serving as half pre-amp tube, much like a 12AX7, and half power amp tube in one.

“There was a time when they were used in record players,” he says. “The 12AX7 side amplified the needle and the other side amplified the speaker. A lot of Goldentones run on them and they do have a very unique sound. It’s a very Australian sound.”

Colin and his team then discovered that Electro Harmonix are still producing something with a similar design to this day, the 6BM8, albeit

with a different pin out structure. The 6BM8’s preamp side sounds more like a 12AT7 as opposed to a 12AX7.

“We managed to redesign our smaller amplifier, The Gentleman, around those 6BM8 and make it more true to the originals.”

“And that amp has really struck a chord, pardon the pun, with a lot of people who’ve heard it.” Colin says with a laugh.

“When we get to the bigger Goldentones, for example, the Reverbmaster or the Bassmaster series, their tubes were these big things that were the 6DQ6As.”

These tubes are unusual in that they were used extensively in black and white televisions. Surely a sign of the times, Goldentone using whatever tubes were most freely available in Australia at the time.

“From 1958 to ‘60, maybe into ‘61, most of the amps are identifiable that they had the control plates up the top on the back. Those amps ran on, typically, EL34s, some of them even had 6L6s in them, the standards. So they started off in that same universe.”

“From ‘61 onwards, the design completely changed, and all those tubes disappear and all these esoteric ones that no one else uses [appear]. But it’s fair to say that [these tubes] are the sound that Goldentone amps are now famous for.”

While Colin has old stock of these 6DQ6A tubes available, they’re a finite resource, production having been stopped in the 70s, but there’s no point designing new amplifiers on old technology.

“We had to switch over to something else in the output section of our bigger amps, and that is going to naturally make them different than the traditional Goldentones, but we wanna see what we can do to keep it in that realm.”

Colin is leading a small team of incredibly dedicated people to reviving the Goldentone name. He’s not interested in reissuing what’s already been built, nor is he keen to use the Goldentone name to mass produce amplifiers with a vintage aesthetic. Instead, he’s looking to bring Goldentone back, to pick up where they left off, and see a new family of amplifiers on the stages and in the studio with Australian musicians of every generation.

IN FOCUS:

FRANKLIN AUDIO RA - 20

WORDS BY LEWIS NOKE EDWARDS

Franklin Audio are doing the lord’s work in their RA-10 and RA-20 Studio Re-Amplifiers, the RA-20 being a stereo version of the RA-10.

The RA-20 is designed and built in Sydney, Australia, with a robust, bent metal chassis encasing comprehensive circuitry and two custom-wound transformers, the unit itself weighing just 0.6kg. The unit responds from 10Hz up to 30kHz, meaning every ounce of your signal’s tone, and then some, will be unaffected! Robust knobs allow for control, while the switching options for routing are tucked out of the way to prevent being accidentally bumped while using the unit.

In a nutshell, these are boxes that convert a line level signal to instrument level, allowing you to take a recorded signal, i.e. within your DAW, and play it back through an amplifier at an optimum level for the amplifier itself. This process is called re-amplifying, as that signal can be re-recorded when played from the guitar amplifier and speaker cabinet.

Where things get a bit more creative, is when using the RA-20, for example, to run line level signal into a guitar pedal instead of an amplifier. For example, with the RA-20, you’re able to route your drum bus into the RA20, with ‘Z’ (impedance) and level controls to a stereo delay pedal, overdrive or chorus, into an instrument/Hi-Z input on your interface, or a DI (to convert it back to line level) and back into your DAW. With the RA-20, your pedals can now work as outboard for producing, recording and mixing!

The RA-20 features two ins and outs, as well as a simple (yet very comprehensive!) switching system that allows for various routing like dual mono, true stereo, mono to stereo operation and mono to dual mono. The RA-20’s input is via two Neutrik combo XLR/¼” connections, with output via two ¼” Neutrik TS jacks.

The RA-20 also features independent ground switches and a phase flip switch on each channel, to keep everything controlled, in phase and hum free!

Each side features a ‘Level’ control, as well as a ‘Z’ control for impedance matching (or further tonal control if you’d like to get creative!) The ‘Level’ control is actually a passive trim for each channel, so having this set to ‘Max’ would be default, allowing you to ensure the signal going to the next part

of your chain is optimal. The RA-20 (and RA-10 for that matter) feature a transformer balance circuit with custom-wound Franklin audio transformers.

In use— the RA-20 is a great solution for re-amping. Don’t let the layout’s simplicity trick you, this unit features as comprehensive a control as you’d ever need, seemingly having more control over tone than other re-ampers. Things get really creative when using the RA-20 to re-amp signal through pedals— the RA-20’s compact form factor allowing it to easily be nestled in beside pedals, and I was immediately mixing with my drums through otherworldly reverb pedals and experimenting with the ‘Z’ control, while also destroying my kick drums transients with distortion and overdrive.

The stereo capabilities of the RA-20 make it especially useful, stereo delay pedals being a great way to access gritty, bucket brigade delays in my mixing.

The switchable mono and stereo modes really elevated the RA-20, and while reading the switching options in the manual took a moment to wrap my head around, you’ve got access to everything you’d need. Dual Mono mode makes both sides of the pedal work independently of one another, while Mono to Dual Mono mode allows a single signal to be sent into the left input, with that signal being routed to each output with independent ‘Level’ controls. True Stereo allows for two inputs and outputs, with both sides controlled by the left side controls, meaning you don’t need to meticulously match the sides’ settings. Mono to Stereo mode differs from Mono to Dual Mono in that the mono signal is split, yet both outputs are controlled by just the left side controls for perfectly matched outputs.

At a glance: this allows you to use both mono and stereo pedals, or—back to the example of re-amping through amplifiers, send a single, mono, guitar signal into two guitar amplifiers, either in a true stereo setting to ensure each amp is receiving exactly the same sound, or in dual mono operation to further optimise the signal that each amp receives. You can sum two performances into a mono output, i.e. into one amplifier, to harness the grit and push of a guitar amplifier for a more bolstered sound. This also applies to re-amping a stereo synth through amplifiers, either mono or stereo, for example if you’d like to push a little air out of a speaker with a digital soft synth.

The capabilities of this unit are really limited by your imagination, so if, after all this, you’re still struggling to see the merit of Franklin Audio’s RA-20 Stereo Re-Amplifer, maybe you can’t be helped!

ELECTRO-HARMONIX OCEANS ABYSS

Featuring a customisable signal path with up to 8 effects blocks, the Oceans Abyss can be configured as individual reverb, modulation, EQ, delay, bit crusher, saturation or volume effects or as countless combinations for incredibly creative effect shaping. Available now RRP $1199

ELECTRO HARMONIX OCEANS ABYSS ADVANCED REVERB LABORATORY

WORDS BY JAMIE COLIC

Building upon Electro-Harmonix's current lineup of reverb pedals, which has long revolved around the beloved Holy Grail, the Oceans line of stompboxes have gathered much momentum among ambience enthusiasts in recent years.

While the Holy Grail, which isn't going anywhere, holds up great for such an early digital unit, the Oceans pedals have been tailored to expand upon the template laid out by the classic. This range essentially offers more options for players who need extra variety from their Reverb effects unit.

Oceans Abyss stands as the flagship model in the Oceans line, updating Electro Harmonix’s (EHX) highly acclaimed reverb algorithm to deliver an advanced workstation that is designed to provide truly immersive effects.

For a unit with such impressive capabilities under the hood, I must say that EHX have gone above and beyond to make the Oceans Abyss not only presentable but also inviting. No potentially intimidating UI here, the Oceans Abyss looks not dissimilar to some other dual-stomp effects units that many of us would have used over the years.

Each side of the Ocean's Abyss mirrors the other in terms of control layout and switch position, with the centre of the unit featuring a nice, easy-to-read OLED display and buttons to store and access presets.

A third footswitch is located in the centre of the unit for switching modulation fx in and out of the assigned patch.

Controls on the faceplate of the EHX Oceans Abyss are also relatively straightforward, with each side of the unit boasting pots for panning— the Oceans Abyss can run stereo— as well as pre-delay and time. Three sliders serve to control the blend on the units' panning pot, and a two-band equaliser provides the means to sculpt the frequency response of your verb.

Getting started with the Oceans Abyss is quick and easy. I simply pressed the Home button to display the Signal Path View, which is commonly referred to as the Home screen in EHX documentation. From here, selecting a preset was as easy as hitting the Preset button, which will illuminate it.

One thing I really like about this new unit is EHX’s special NavCoder navigation control. Pushing the NavCoder directionally will move the cursor on the OLED towards your desired preset or the parameter that you wish to tweak. Subsequently,

it comes to making this unit intuitive and user friendly.

This brings me to the sounds. The Oceans Abyss revolves around two reverb engines that feature independently programmable stereo algorithms. This means that the Oceans Abyss is essentially two individual pedals in one, which is a dream for players who are already stacking ambience effects together to achieve their tones.

Hall, Shimmer and Spring algorithms are all familiar yet luscious; however, there is a plethora of others to choose from for those seeking other sounds. This works to make the Oceans Abyss an extremely versatile unit, but there's way more going on here than traditional reverb sounds.

The Oceans Abyss' success in innovating via the incorporation of customisable FX Blocks. These include the standard culprits such as modulation and time effects like delay, chorus and tremolo, but also some more wildcard entries like Bitcrusher.

rotating the NavCoder allows you to adjust the value of specific parameters, similar to how one would utilise a pot on a traditional pedal or amplifier. For handsfree operation, the simultaneous pressing of A+EFFECT or EFFECT+B footswitches allows the user to navigate the preset menus in much the same way.

Another feature of the Oceans Abyss that I really appreciated was the system's Live Mode, which essentially lets you engage with the pedal's analogue controls much like a traditional reverb or delay unit. To exit a preset and enter the unit’s Live mode is as simple as pressing the Preset button to bypass the chosen preset. Additionally, saving a user-made preset is as easy as holding the Preset button and inputting the relevant information, such as preset name and slot, via the NavCoder.

This is just the tip of the iceberg when it comes to the functionality of the Oceans Abyss, however the fact that I managed to get up and running with the unit in a matter of minutes goes to show just how much thought EHX has put in when

Eight blocks are available within a customisable signal chain, all accessible and easily viewed via the unit's high-quality OLED display. I think that anyone who is familiar with a block interface, such as the ones implemented by companies like Fractal, will find little difficulty in effectively accessing and tweaking parameters within their desired digital signal chain.

Possibilities are endless when it comes to the EHX Oceans Abyss, whatever you want is at your fingertips, whether it be a simple spring reverb or a fully fledged Shoegaze dreamscape complete with stereo hall and spring reverbs, overdrive, tremolo and chorus. The Oceans Abyss really has the potential to be a total solution for anyone who is looking for a single unit solution to all their time, ambient and modulation-based needs.

All this, combined with fully stereo I/O with integrated FX Loop, plus MIDI IN and OUT ports with MIDI IN support of PC, CC and tempo clock, only serves to further expand the immense talents of the Oceans Abyss. In 2025, the Electro Harmonix Oceans Abyss is a must for anyone in the market for a professional-grade reverberation unit that will make even your wildest ideas become a reality.

LACKING

WARMTH,

HEFT AND GRIT? WELL, A FUZZY PEDAL MIGHT BE YOUR NEW BEST FRIEND.

WORDS BY MIXDOWN STAFF

Bass guitar players are in a lucky position where the direct sound is entirely usable for both recording and live shows for almost every genre.

Usable and passable; though not always fun. Adding effects to your bass guitar can really help liven things up, whether a little compression to balance out a great sounding bass, or more comprehensive modulation effects like flanger and chorus for some movement and warmth. Distortion and overdrive can be a more difficult beats to wrangle, the frequencies of a bass guitar sometimes becoming honky, harsh or unpleasant. One effect that lends itself particularly well to bass guitar is fuzz— the low end bump and warm grit of fuzz likens your bass guitar to a bass synth; both fattening and controlling your low end and adding punch. But where to start?

Silicion transistors and germanium transistors

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.

Bass guitar dynamics

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.

Choice of bass pickups

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.

THE 10 BEST BOSS PEDALS

It's a stompbox shootout for the ages - we're diving into the 10 best Boss pedals of all time.

Not even the purest of pedal snobs can turn their nose up to humble Boss pedals. For over forty years, the company’s line of rugged, compact and simple stompboxes have stayed at the forefront of contemporary music, with some even inspiring entire new genres or styles of playing.

As a precursor, I just want to state that this ranking is solely dedicated to the range of Boss effects that only feature a single footswitch – you’ll find no Space Echo pedals or fancy looping stations on this list.

In the pedal world, Boss have proved a hundred times over that the simpler the better, and for that reason, we’re nullifying anything too fancy – that can all be saved for another day. So, without any further ado: our top ten.

Boss BD-2 Blues Driver

The concept of the BD-2 Blues Driver really isn’t too hard to grapple with: it’s an overdrive pedal with a tonal characteristic that makes it great for blues.

Even boutique overdrive junkies like John Mayer have juiced their tone up with a Blues Driver in the past: if it’s good enough for him, then it’s got to be a winner.

Boss GE-7 Graphic Equalizer

Super rudimentary, super boring, but super underrated. The GE-7 was released in 2004 and was initially marketed guitarists looking for instant tone shaping without running back and forth to their amplifier, but it’s the GE-7’s versatility that makes it an important addition to this list.

The freedom provided by the seven-band graphic EQ allows players to use the GE-7 for anything from a treble or mid boost to even an overdrive or humbucker cleaner, making it a tonal fail-safe for players

using two different guitars in their set.

Boss CS-3 Compression Sustainer

While it doesn’t really possess any tricks or hidden features that make it a gamechanger, there’s no denying that the CS-3 sounds great: whether you’re using it as a simple limiter or going all-out on the sustain for a classic country clean tone, the CS-3 will almost certainly do the trick.

The addition of a tone control also makes this a secret weapon among many guitarists, and it’s even been used by the kings of compression themselves, Daft Punk. That alone has got to mean it’s good!

Boss IR-2 Amp & Cabinet

Emulating cabinets and amplifiers are an increasingly popular choice for touring and gigging guitarists, the convergence of great sound and convenience finally tipping the scales.

The newly released Boss IR-2 is a standard stomp sized pedal, but packs multiple cabinets and ampifier options into it. Use it to push a pre-amp or distortion pedal further! Switch between 11 models, with three-band EQ as well as Gain and Level controls. Do away with that pesky heavy tube amp!

Boss DM-2 Analogue Delay

The Boss DM-2 is literally one of the best sounding analogue delays of all time – period. Despite having a delay time of 30-330ms, there’s something so warm and dark about the DM-2’s repeats, and the tonal characteristics of the delay make it perfect for lush chords and lead passages alike.

The DM-2 was only produced between 1981-84, and if you can get your hands on an original unit with a MN3005 BBD chip, you’ll want to keep it forever: these pedals fetch exorbitant pedals on the internet, and are prized by analogue delay junkies all around the world.

Boss DS-1 Distortion

If this wasn’t your first ‘serious’ pedal you bought when you started playing guitar, then you’re probably just a bassist.

Robert Smith

The DS-1 is probably the most ubiquitous pedal of all time, and has been used by just about every player of all time: think Kurt Cobain, John Frusciante, Courtney Love, Robert Smith, Steve Vai... the list goes on and on.

Boss RC-3 Loop Station

I definitely debated whether or not this pedal deserved its place in

the list (I really, really wanted to talk about the DC-3 Dimension), but I think the prevalence of looping in modern guitar has made the RC-3 a bit of a sleeping giant in the Boss ensemble.

The RC-3 improved on the groundbreaking, yet frustratingly simple features of the RC-1, letting you record up to three hours of audio, save 99 loops in the internal memory, giving you preset rhythms to practise to and even adding a nifty count-in feature.

Boss DD-3 Digital Delay

The DD-3 is my personal favourite Boss pedal of all time, and it’s probably the one that started a quite unhealthy stompbox addiction that continues to ruin my life.

Adored for the clarity of its repeats, the versatility between each delay mode and the quirky sample/hold feature, the DD-3 became a mainstay on the boards of pioneering groups like Slowdive, Radiohead and Bloc Party, and its tendency to play nice with other pedals makes it a no-brainer for any pedal fiend.

Boss MT-2 Metal Zone

Is the Metal Zone the most controversial pedal of all time? Possibly so. Either you love this pedal’s guts, or you loathe it and want to shoot it into the sun: there’s no middle ground.

And speaking of mids, this pedal’s got plenty: with a three-band EQ that includes High/Low shelving knobs plus a mid-band parametric EQ, the MT-2 actually offers a lot of versatility, yet the sheer amount of distortion present makes it a hard one to use efficiently.

Boss CE-2 Chorus

Surely the CE-2 has to be a unanimous pick for one the best Boss pedals ever. With a mere two knobs, the Boss CE-2 literally shaped the sound of an entire decade: where would the ’80s be without the chorus, and where would chorus be without the CE-2?

Boss discontinued the pedal in 1982 favour of the new-fangled CE-3, which saw demand increase, prices skyrocket, numbers dwindle on the used market and above all, enshrined the CE-2 as one of the best pedals of all time.

apps DJ multiple with Compatible

Choose from rekordbox, djay, and Serato DJ Lite

Smart CFX

Recreate complex and dynamic effect techniques with a single action

COM P A CT 2 -C H ANNEL DJ CONTROLLE R

apps DJ compatible via streaming Music

User-friendly features

Play tracks from Apple Music, Beatport Streaming, TIDAL, SoundCloud Go+/DJ, & more

Smart Fader

Mix music by sliding the crossfader for automatic volume, BPM, and bass control

Play music through your PC/Mac/mobile device or connect external speakers

Lightweight and compact

Take it anywhere you want to play and use USB bus power

Ernie Ball Bell Bronze: how do they stack up?

WORDS BY LEWIS NOKE EDWARDS

Acoustic guitar strings can be fickle.

They’re at the mercy of the player, first and foremost, bad fretting and clunky playing being exacerbated by fresh, squeaky strings, the wrong alloy can sound mismatched depending on the wood of your guitar. Many players will have a set or type of string they default to, but how do they really stack up against the rest?

There’s various metals to choose from, as well as coatings, gauges and designs, especially from a company as invested in guitar tone as Ernie Ball are. Their Earthwood Bell Bronze are something entirely new and, developed in collaboration with John Mayer, are inspired by the alloys used for bells and cymbals. As you’d expect, they offer a warmer and more mid-focused sound thanks to the metals used.

The Bell Bronze strings are available from .10s up to .13s, with .11s and .12s between those two gauges. Earthwood Bell Bronze are noticeably richer and more full sounding, and while they have a mid-focused resonance, it’s not overpowering, nor muddy. They retain all the clarity of something more akin to Phosphor Bronze. The Bell Bronze, as you’d expect, have a particularly chimey sound, much like a bell, ringing true with overtones and harmonic richness aplenty.

Ernie Ball’s range of acoustic strings have a huge offering for all types of players, with coated strings being a great solution for busy giggers and part-time players alike, the coating serving to retain clarity over time to protect strings from grime, sweat and more, or to keep them sounding fresh on your prized guitar that’s not played enough!

Some alloys and metal resonate differently, coupled with the woods of your guitar, and finding the best possible pairing for yourself as a player is incredibly important. So how do the new Earthwood Bell Bronze stack up to the strings we know and love?

Aluminum Bronze

Comparatively, strings like Ernie Ball’s Aluminum Bronze that are constructed from steel hex cores and aluminum bronze wrap offer deeper lows and more sparkling highs, perfect for strumming away at chords and arpeggiated playing, whereas John Mayer, a player decidedly focused on lead playing, needs to poke out a little more from a mix with his Bell Bronze strings. The Aluminium bronze are a little less bright and focused than Phosphor Bronze strings, though have more top end than the bell-like Bell Bronze.

Earthwood Phosphor Bronze

Phosphor Bronze is the tried and true solution for a lot of players, Ernie Ball’s Earthwood Phosphor Bronze are comprised of 92% copper, 7.7% tin and 0.3% phosphorus wrapped around a hex shaped steel core wire for both strength and tuning accuracy. There’s a mellow warmth to phosphor bronze, coupled with brightness and clarity for finger picking, leads and chicken-pickin’.

Comparatively, the Bell Bronze features the same warmth as this popular choice, but with a more mid-focus and less mellow disposition.

Everlast

Expanding on the Earthwood Phosphor Bronze, Ernie Ball’s Everlast Coated strings take everything you love about Phosphor Bronze and add a layered coating that repels unwanted moisture, sweat, oils and whatever else might be thrown around at your next gig!

The life of your strings is prolonged, as well as their sound over time, retaining the clarity and warmth. Ernie Ball’s groundbreaking nanotechnology coating is applied to both the inner hex core and outer wrap wire for uncompromised tone and long-lasting protection from the elements. Tonally, the Ernie Ball Everlast

strings retain all the brightness of Phosphor Bronze and let you keep that tone alive for longer than traditional strings, the dirt and grime that slowly erodes strings over time being stopped at the source; offering consistent, balanced response.

Paradigm Phosphor Bronze

As if that weren’t enough, Ernie Ball’s Paradigm Phosphor Bronze strings have the aforementioned nanotechnology as well as plasma enhanced wrap to protect the string from breaking at its core, adding corrosion resistance to an already stellar sounding string.

The Paradigm offer a more modern tone, a little more scooped than uncoated Phosphor Bronze, settling into contemporary productions with controlled bottom end, consistent pick or finger attack and mids without being overtly warm or too harmonically rich.

The new Earthwood Bell Bronze nestle themselves comfortably into the range, blending contemporary clarity and controlled low end with focused mids and warmth of more traditional acoustic guitar sounds. For lead playing, the chimey tone helps you to cut through an arrangement, making it perfect for both lead and rhythm playing on an acoustic guitar, the sound and character of your guitar shining through.

Exploring different sounds and styles for yourself is incredibly important, and while it’s important to find a tone that works for you, companies like Ernie Ball are putting in the work to expand their ranges to help us find our sound.

SMALL NEVER SOUNDED SO BIG.

MAUI® G3 MIX

CARDIOID COLUMN PA SYSTEMS WITH DIGITAL MIXER

Introducing MAUI® G3 MIX – designed and engineered in Germany; ideal for singer-songwriters and musicians. The MAUI 11 and 28 G3 MIX feature a 6-channel mixer with on-board effects, enhanced by a user-friendly App for easy adjustments and SysLink® for connecting two units, doubling your mixer channels. Both systems feature powerful subwoofers and large mid speakers, ensuring a full-range sound experience from deep bass to crystal-clear highs. Compact, portable, and perfect for any venue, MAUI® G3 MIX is your ultimate partner for your live performance.

LEWITT Audio and their pursuit of the lost audio pioneering spirit

WORDS BY LEWIS NOKE EDWARDS

LEWITT Audio are pushing microphone design forward, making it easier and more accessible than ever to capture great sounding audio across any budget. We caught up with Patrick Peeters, head of Global Sales, about their commitment to innovation and their passion for creation.

The microphone industry on the whole features a lot of tried-and-true designs, though sometimes it can feel a bit stale, i.e. reissues of classic designs etc. but LEWITT is doing something to push the industry forward. Can you tell us a bit about LEWITT’s mission?

LEWITT was founded to push microphone design forward. The funny thing is that the designs that are now oftentimes being copied were all about pushing boundaries when they came out. We consciously revive this lost audio pioneering spirit with new designs and feature sets. We believe that great sound is for everyone and offer cutting-edge sound and specs at affordable prices. Something that was very difficult in the past but is now possible with modern manufacturing techniques.

You engage with artists and producers when doing R&D— why do you do this?

People are the core of LEWITT because technology is never its own end. Technology's purpose is to enable a fantastic user experience, provide a better workflow and yield better results for the user. That is why cooperation with artists and producers is so important to us. They allow us to listen and learn what features and sound characteristics make sense in the real world.

The last few years have seen LEWITT step into the audio interface market— why is this? Did you see a problem with the existing market? Or is this a result of talking to artists and producers? When you start recording, using an audio interface is weirdly complicated, as you probably know from your personal experience. Audio interfaces have a lot of room for improvement when it comes to usability. LEWITT audio interfaces change that with features like “Autosetup”. Just let it know what you want to do, and it will dial in the proper settings for you. These seemingly “simple” things are not something that only beginners appreciate. We also get praise from Grammy Award winning producers when clever features make

room and save time for the creative part of our work.

LEWITT truly is a global brand, while based in Vienna, you work very closely with your Chinese manufacturers and US teams. Why is this integration so important to you? Why do you work to dispel misconceptions about overseas manufacturing?

We want to offer the best price-toperformance ratio for LEWITT customers and make our products accessible to as many people as possible. Although we design and develop all our products in our HQ in Vienna, China has established supply chains that are unparalleled in the world. We don’t see benefits in shipping components produced in China around the globe and then putting them together somewhere else to gain a particular image that, in the end, does not reflect economic realities. In China, we have our own team that sets up production lines, measurement systems and quality procedures, to ensure all LEWITT products meet the highest standards, yet at affordable prices.

Our global sales partners confirm that LEWITT products have one of the lowest defect return rates from all of their suppliers.

Products like the LCT 640 TS really push recording and music production forward, allowing for polar pattern to be adjusted after the fact. Can you talk a bit about where the idea/need for this came from?

A multipattern microphone often serves as a “studio workhorse”. The idea of LCT 640 TS was to create a studio workhorse 2.0, something that brings even more flexibility to the studio. Its Dual Output Mode allows to change the polar pattern and, therefore, the frequency response during the mixing process or while doing the sound check. Something that has been proven extremely valuable to audio professionals working in the

studio but also live. You can also use LCT 640 TS to create perfectly phase-aligned stereo recordings, again adding flexibility. Plus, any two LCT 640 TS form a stereo pair due to our Perfect Match Technology. You can add another LCT 640 TS to your locker as you go should you want to build more complex microphone setups at a later point and still get the performance of a matched pair.

While obviously interchangeable— what do you think makes for a good studio mic vs. a good live mic?

The LEWITT MTP W950 live microphone is there to make everyone happy – the engineer, the artist, and, of course, the audience. It makes the artist sound live like on the record by featuring a 1” true condenser studio capsule. To make this work on stage, our R&D team fine-tuned the pickup behavior until we achieved an industry-defining 90% rear rejection, resulting in crystal-clear live mixes, providing freedom for the engineer to create the sound needed for an impactful performance.

It’s the same with studio mics. They are good when they help you sound fantastic easily, meaning your takes will sit well in the mix. And they are good when they provide the high-end specs needed to make room for creativity.

Our recent PURE TUBE studio vocal microphone is a perfect example of this. People love the sound of tube microphones, but the classic designs are oftentimes noisy and, therefore, unsuitable for modern production techniques like heavy compression or vocal layering. If the noise levels are high, they add up. For PURE TUBE, we designed a new circuit from scratch with the lowest self-noise figures of any tube microphone on the market while delivering the depth and warmth that vocalists find inspiring.

Can you speak to any exciting ideas/ technology/advances that you’re excited about?

Everyone needs a reliable acoustic environment to create professional mixes for music or video production, but not everybody has the possibility to work in such an environment. That’s why we developed Space Replicator, our first plugin. It allows for professional audio mixing, editing, and mastering, even without a studio. For this, we captured real spaces and turned them into virtual acoustic spaces with extremely high resolution. You can experience these spaces as if you were there using the headphone model you already have.

Space Replicator offers a great variety of professional mixing and mastering rooms. Ideal for anything from critical listening to extra-long mixing sessions, always with the natural stereo field of high-end speaker systems. This way, the in-head localization of headphones is transformed into an experience of sitting in front of a professional speaker system, which makes working with audio much easier. The plugin also allows you to check how your mixes translate where your audience will play it – on a smartphone in the living room, car, or the club.

This solution allows many people without access to an acoustically treated space to create mixes they can trust.

IN FOCUS:

AlphaTheta DDJ-FLX2 Compact

2-channel DJ controller

WORDS BY ROB GEE

Getting started as a DJ doesn’t need to be difficult, and the team at AlphaTheta get this.

They understand that not everyone wants to spend years trawling through record stores, upgrading hardware, compiling digital music libraries and working their way up through the club scene, and playing to marginal crowds with little reward. A lot of music lovers simply want to be a part of the moment mixing tracks for their own enjoyment. Whether it means bringing life to the party on a Saturday night, or just adding atmosphere to the loungeroom on a Tuesday evening, everyone can give it a go. With that in mind, AlphaTheta have brought us the DDJ-FLX2, for those who want to enjoy DJing, but not have to take it too seriously.

Let’s think about how far the digital DJ console has come over the past couple of decades, and how advanced the systems in the background are too. It almost requires an engineering degree to fully operate the professional models, and takes a long time to get to know each of the functions. And that’s great, if you really want to push your DJing to new levels, but if you’re just looking for a fun time mixing tunes, it shouldn’t be so difficult. Well, it isn’t, when you kit yourself out with the right gear. All those added features aren’t really worth two cents if they’re getting in the way of you mixing your tunes and having a good time. So, a simplified console that still offers quality components and features, but doesn’t confuse the user, is just as important as one that packs everything in. So, let’s take a step back and see what’s on offer here. AlphaTheta have stripped back the digital DJ

console to make it more manageable for the new user. This is the console that can get you started mixing music, and can still allow you to grow with included features. Firstly, we’ve gone back to just two channels, like the analogue mixers of old that were more than adequate back then. Let’s not over complicate things by introducing additional channels and decks, when you can do so much with two, if you’re focused on them. Each channel has a High, Mid and Low frequency EQ knob, with headphone monitoring buttons and a long throw fader. That’s it! The mixer section is kept super clean, making it easy to navigate and understand right from the start. On each of the two decks, we get a few added extras though.

After all, one does want to make it too simple, or it might get boring. Each deck has a large jog wheel for cuing tracks. Along with long throw faders for pitch adjustment. Of course, these are pretty much standard fare and take care of the basic task of beat matching and mixing two tracks. Once you’ve got the hang of that, you can start to get funky with the added features like Hot Cues, Loops, Sampler and FX. Add four performance pads to each deck and there is plenty of ways in which you can play around with the sounds and make the mix your own.

The DDJ-FLX2 has been built with portability in mind. Throw it in your backpack and take it to a mate’s place, set it up in the common room, or sneak in into the office on a Friday afternoon. You can take this thing anywhere and operate it with a range of devices. You can easily link it

up to your PC or Mac laptop if you want added control in software and greater access to large music libraries. However, the DDJ-FLX2 will also operate with a tablet or smartphone for truly portable music mixing operation. With just your headphones connected, you can practice or party on your own, but set up a Bluetooth or wired speaker system and the rest of the room can join in.

Best of all, the controller operates on USB bus power. So, you don’t need an added power supply when connected to a device via a UCB-C connection. And while it’s lightweight, it is still a ruggedly constructed unit, so it can handle a little bit of jostling about.

For those starting out, the DDJ-FLX2 works well with software platforms like Rekordbox or Djay, as well as Serato DJ Lite for those who wish to take their mixing to a more advanced level. Furthermore, you don’t have to have a massive library of tracks on your device, with a range of music streaming services being compatible with the DDJ-FLX2. Beatport, Soundcloud, TIDAL and others will all work in various capacities to allow you to mix the tunes you love.

And if you’re struggling to get it to come together, AlphaTheta have thought of that too. The Smart CFX function brings the effects features into your mix without you having to think too much. The performance pads get populated with effects for you that you need only fire off when you like. The Smart Fader feature takes the guesswork out of beat matching and EQ functions as it aligns BPM, volume and bass control on each channel for you. With these little tricks up your sleeve, everyone in the room will think you’re a professional, when you’re just getting started.

AlphaTheta also have a whole range of tutorial videos to show you how to maximise each of these functions and get the most from your DDJ-FLX2. We found that if you spend a short time watching these with your unit set up alongside so you can mimic the procedures, then it easily translates to autonomous mixing very quickly. The important thing to remember is that this is supposed to be fun. You shouldn’t have to spend hours, days or weeks learning how to drive the machine. AlphaTheta want you to plug it in and be mixing in minutes. Then, it's really only limited by your creativity, and your taste in music, of course!

AlphaTheta DDJ-GRV6 4-channel performance DJ controller IN FOCUS:

WORDS BY ROB GEE

It’s safe to say that the line between DJ and producer has long since been swept onto the dancefloor.

The DJ booth is now a live creative control studio, where the DJ has the ability to not just mix and manipulate tracks, but also to create totally new remixes on the fly. Of course, this all depends on the ability of the DJ, and more so, on the equipment that is available to them. Well, AlphaTheta have put a lot of focus into this concept with their new DJ controller, allowing the DJ to become the musician, producer and the drummer. Yes, the drummer. Those of you obsessed with beats and grooves, will be keen to get your hands on this. The DDJ-GRV6 is their latest controller, which smashes together the DJ console, drum machine and recording system all into one exciting unit.

So, let's take a quick look at the layout of the unit, before we get stuck into the real fun stuff. On the surface, the DDJ-GRV6 looks to be a fairly well appointed, professional DJ console. And that’s because it is! There’s two full sized jog wheels that offer LED display of track position, a four-channel mixer offering 3-band EQ on each channel, and a host of performance pads above each wheel. This creates a solid foundation for building a mix, in a layout that is based on the latest club-standard DJ gear.

The DDJ-GRV6 also comes with the inclusion of Beat FX, taken from the DJM-A9, and conveniently located down the side of the mixer section, like an additional channel strip. You get easy track browsing with the Smart Rotary Selector and the fast load buttons. Further to that, AlphaTheta have included a Discover button that calls up the Track Suggestion feature in Rekordbox software to bring up related and favourite tracks.

The key feature that is going to get a lot of DJs wanting to drive the DDJ-GRV6, however, is found at the top section of the panel, above the performance pads for each deck. This is where you find the Groove Circuit controls which turn your DJ console into a live production rig for on-the-fly replacement and creation of drum parts. In a way, this reminds me of the groove boxes that took live electronic music to new levels in the late 90s, and is set to change the way in which DJs interact with their choice of tracks. The four parts to this Groove Circuit offer a host of opportunities with the drum parts in your tracks, so let’s look at each individually.

Firstly, the Drum Swap feature allows you to replace the drum loop in a track at the press of a button. Yes, you read that correctly. You now have the ability to swap out the drum loop with another of your choice, with two banks per deck and a Single or Multi option to create a breakdown or fill in a track. AlphaTheta offer 40 drum loops that can be downloaded right away to get you started, but you can create your own in the studio and load them into Rekordbox or Serato DJ Pro to be added into the track of your choice.

Next is the Drum Roll section that allows you to add drum rolls and Trans effects to drum parts at the press of a button. You can work across the four Trans buttons to build up the effect and create atmosphere at any point in a track. This works side by side with the Drum Swap, enabling you to change the sound and structure of a track on the fly. As you move across the Trans buttons, the number of beats is doubled with each step, allowing you to go back and forth to create your own beats.

The Drum Release feature is controlled by a toggle that allows you to create breakdown effects, pulling the drums out and dropping them back in depending on the timing and length of the action on the toggle. Think of it like a Mute switch, which engages an effect as it transitions into the muted stage, which can be played much like a crossfader would be to make the effects dance in time with the track.

Then there is the Drum Capture feature that will be popular with those who like to chop up their track like one would with a sample and hold function. However, it only captures the drum section of a track. Engaging the Drum Capture for the desired section of a track allows you to load that drum part into one of the banks in the Drum Swap section to be recalled as you please. So, you don’t even need to worry about loading up drum loops for a performance, when you can pull them directly from one track, and drop them into another. I know this would have been a gamechanger when I was DJing in the drum and bass clubs of the 90s. Imagine, how many times you could replace an Amen break with a different Amen break. The possibilities would have been endless!

But wait, it gets even better when you’re using Serato DJ Pro and making use of the Stems FX feature. All these Groove Circuit controls can be switched over to allow you greater freedom with separate Stems in a track. You can drop on and out with Vocal, Melody, Bass, and Drums. There’s an overlay sheet included with the DDJ-GRV6 that relabels this section, so you know exactly what’s going on in this mode.

The long and the short of it is, the DJ is no longer expected to just mix one track into another. With the tools at hand, they can mix, remix and create new tracks on the fly. With that, AlphaTheta have delivered a seriously powerful piece of kit in the DDJ-GRV6. If you want to take your DJ set to the next level, this is going to get you there.

GEAR ICONS:

Moog MiniMoog Model D

WORDS BY WILL BREWSTER

Moog themselves are an iconic company, so much so that their specific models are also iconic.

There’s a lot of hyperbole thrown around in music writing but trust me: everything you read about the Moog Model D is 100 per cent true. Few synths, if any, come close to matching its influence across popular music today, and it’s certainly the most recognisable and recorded analogue synthesisers of all time.

From Pink Floyd to Parliament-Funkadelic, Daft Punk to Dr Dre, Herbie Hancock to Hans Zimmer and beyond, the MiniMoog Model D has lent its rich analogue tones to countless classic records and remains a studio mainstay some 55 years after its release.

Hitting the market in 1970, the monophonic, three-oscillator MiniMoog was the first ever synth to be sold in retail stores, exposing synthesis to a much wider audience than ever before. It was a natural progression from Moog’s madcap modular behemoths of the 1960s, which were complex to operate and incredibly expensive – in fact, more units were owned by universities than they were musicians.

Facing declining sales and an uncertain future, Moog’s engineers toiled to build a more portable and affordable synthesiser with a sound that stood up to these modular offerings.

By all accounts, it was a testy design process: company owner Bob Moog was absent from the factory for several weeks, and was furious to find his engineers tinkering away at six prototype units without permission when he returned. Once his

fury subsided, Bob came around to the synth and recognised its commercial viability, eventually approving a production run.

Pairing sleek walnut panels with 44-keys and a smattering of switches and rotary encoders, the Model D weighed in at 14 kilograms, making it incredibly portable for its era. It also featured an adjustable control panel and the unique addition of modulation and pitch wheels, making it as expressive as an electronic instrument could be at the time.

While there’s many valid ways to describe the sound of a MiniMoog, there’s one undeniable characteristic which prevails above all: warmth This all comes down to Moog’s analogue oscillators that form the heart of the Model D, which are notorious for never, ever staying fully synchronising with one another due to the unit’s unstable power supply. Although unintended, these subtle variations add a unique colour to the MiniMoog’s raw tones and became a defining characteristic of its sound.

Another key feature of the Model D was its 4-pole low-pass ladder filter, with controls for cutoff and resonance unlocking its immense soundscaping potential. This filter, in conjunction with envelope and amplifier ADSRs, could be used to turn creamy leads into aggressive drones, or glitchy sci-fi lasers into booming bass hits, within a matter of seconds. No need to patch in – the Model D finally made analogue synthesis

accessible for the masses.

Despite being well-received by consumers and critics alike, the MiniMoog Model D wasn’t enough to mend Moog’s financial woes, with Bob Moog selling the company to a rival distributor in 1971. Nevertheless, production of the Model D continued up until 1981, with around 12,000 units being released during this time.

The 1970s is widely regarded as an influential and experimental decade for contemporary music, and it’s fair to say the Model D played a significant role in this being the case. Think jazzfunk, post-punk, disco, prog rock – you name it, the Model D helped incubate it.

Progressive and psychedelic rock bands immediately saw the appeal in the MiniMoog, both for its futuristic sonic potential and its ease of portability (although, considering the touring rigs of some bands from this era, that could be debated). Acts like Pink Floyd, Rush, Yes and Genesis experimented with MiniMoogs onstage and in the studio, while David Bowie, Brian Eno and Paul McCartney all had their own Moog moments.

Stevie Wonder was one of the Model D’s earliest advocates, using the synthesiser to lay down funky basslines and lead passages on records like Talking Book and Songs In The Key Of Life, with Chick Corea and Herbie Hancock also joining the party on their groovy fusion works of the same era. Prince, Michael Jackson and Parliament-Funkadelic’s Bernie Worrell were also noted fans, with tracks like ‘Flashlight’ demonstrating the MiniMoog at its squelchy best.

The MiniMoog’s prevalence in historically Black genres like jazz, funk, soul and disco also saw its usage spill over into hip-hop in the ‘80s and ‘90s, with pioneering G Funk producer Dr Dre using it to exemplary effect on classic records by Snoop Dogg, Ice Cube and 2Pac.

Electronic music was also undeniably advanced by the introduction of the Model D, with the synth’s classic sounds being coveted by artists as diverse as Tangerine Dream, Yellow Magic Orchestra, Depeche Mode, The Prodigy and The Chemical Brothers.

And it wasn’t just a sonically influential synth either – by the end of the 70s, manufacturers like Korg, Roland and Yamaha had released their own Moog-inspired keyboards onto the market, with each new release only further cementing the Model D’s GOAT status.

Even today, the Model D’s musical influence is as strong as it’s ever been, with countless copycat models and VST emulations being available on the market. And with Moog recently reissuing the Model D – not for the first time, it must be noted – a staggering 55 years after it first hit retail stores, it’s only fair that we cherish the MiniMoog for what it is: a revolutionary instrument with a legacy unlike any other.

Soldering for the working guitar player

WORDS BY JAMIE COLIC

It's the same old tale, gigging veterans all have stories about that one show where their output jack failed, a pickup shorted out, or that pesky patch cable derailed an otherwise blazing set!

Now, if you are fortunate enough not to have endured such an experience, don’t worry. Your time is coming sooner or later. But, as a guitar player, before the existential dread sets in and you are encumbered with rig paranoia, know there are ways in which you can take matters into your own hands. That’s right, there is no need to subscribe to the perpetual ticking of the doomsday clock of a guitar player when there is a very simple solution. Learn how to solder!

Now personally, I have seen the face of many a guitar player turn pale at the thought of swapping in a new pickup, insisting that they have neither the skill base nor the knowledge required to undertake such a task.

However, the truth is that any average Joe with basic equipment can swap out a bridge humbucker or fix a shoddy guitar cable. Poking around inside your guitar is entirely safe from an electrical standpoint, unlike working on amplifiers which can prove to be deadly to anyone but trained technicians.

Having laid the groundwork for what it takes to learn how to solder, let’s dive into guitar wiring 101. For beginners, any old soldering iron will do. However, if you are purchasing new, I do recommend opting for a 40-watt iron as this is powerful enough to undertake any guitar-related wiring duties. If feeling somewhat lavish, it may even be worth springing for a temperaturecontrolled soldering station, but only if you see yourself undertaking regular soldering projects in the future. DIY effects pedals, anyone?

Thinner solder is better than thicker solder for guitar work. While there are numerous options when it comes to solder types and composition, literally anything will be a suitable choice for those starting out.

Lastly, a sponge for cleaning, either a brass sponge of a literal damp sponge, for cleaning the tip of your iron is essential. Many will also find a soldering stand essential, and burning your desk, guitar, or your own hands isn’t particularly fun. Whilst minimal, this is really all that you need to get started. However, in the future, you might find it useful to add solder braid, a solder pump, flux and a helping hand contraption to your arsenal.

I highly recommend taking the time to spread some sort of protection over the body of your instrument before you begin any sort of electronics

work on it. This is because occasionally solder may splatter or a blob itself may fall from your iron. This escaped solder will be hot enough to damage the finish of your guitar or burn your skin, a mishap that is easily avoidable if the right measures are taken. The most cost-effective way to make a solder shield is to procure an old towel and cut out a section that will expose your guitar’s electronics cavity.

While working on your guitar, it is important to keep the tip of your soldering iron clean, this is where the aforementioned sponge comes into play. When you notice the tip of your iron becoming dull or oxidised, you simply need to wipe it on the damp sponge to clean it. It is also important to begin with a small coating of solder on your iron, commonly referred to as tinning. You will know that your iron is effectively tinned and prepared for use when it has a shiny silver appearance.

Next, it is important to understand the concept of transferring heat from your iron.

The goal here is to get the component you wish to solder heated up, which will, in turn, help the transference of the solder from the tip of the iron to the component you wish to solder.

Before connecting a wire to a contact, it is important to first tin the wire in question. This is easily achieved by twisting the strands of wire together, heating them, and applying a little bit of solder to the resulting twist. This will cause the solder to soak into the strands of wire, effectively tinning them. The purpose of this exercise is to provide a surface on which solder will easily flow, providing better connectivity when it comes time to make your solder joint.

Conveniently, most guitar components have small lugs that are provided for us to solder to. To prepare your solder joint, poke your freshly tinned wire through and hook it around the lug with your fingers.

Now bring your soldering iron to the lug and heat up both the wire and the lug itself. Once hot enough, you can feed some solder onto the connection and remove the heat.

Let the joint cool, and congratulations, you

have effectively made your first solder joint! You do not need much solder to make an effective connection, and a proper connection should be silver and shiny. If your connection is dull in appearance, it is important that you de-solder and re-establish the connection. Dull connections are referred to as Cold solder joints and don’t do much to promote electrical continuity, making them a big no-no when it comes to establishing an effective circuit.

In scenarios where lugs are not present, for example, soldering ground wires to the back of a potentiometer, you may struggle to maintain a solid connection between your wire and the component itself.

Fortunately, you will be pleased to know that desoldering wires, for example to remove a guitar pickup, is a generally much more straightforward process. We say generally because de-soldering from PCBs (as is increasingly common in modern guitars with active electronics) can be a nightmare! Thankfully there’s de-soldering tools to handle those job more succinctly.

Generally, simply reheating the joint and carefully pulling the wire away from the previously established connection should be all it takes to desolder a wire. This leaves you free to clean the contact of old solder with a soldering braid or pump, freeing it up to be utilised in a new circuit. A soldering braid is a small roll of braided copper that can absorb solder when heated, pulling the solder away from your joints. A solder pump, however, uses a spring mechanism to create a quick moment of suction that, when used with heated solder, can quickly vacuum up any excess!

Learning to solder is an invaluable skill for any guitar player, not only can it save you in a pinch, it also has the potential to save you money, and potentially even make some money as a side gig! Not only this, the fundamental skills learned in guitar electronics can serve as a foundation for electronics-based knowledge in a variety of other music-related fields. Who knows where that unassuming soldering iron will take you!

Brand: Soundtoys

Product: SpaceBlender Imaginary Space Machine reverb plug-in

Distributed by: Soundtoys

RRP: $99USD

Reviewed

by:

Lewis Noke Edwards

Soundtoys SpaceBlender is one of the most versatile reverb plugins I’ve had the pleasure of using. Expansive, ambient delays and reverbs that oscillate and mesh into their own synthy tails are available, as is a little slappy verb; perfect for a bass guitar or vocal being placed into a unique acoustic space in a mix.

The SpaceBlender has a ‘musical’ quality to it, a term that is so widely used it’s beginning to lose meaning, but I’m referring to the harmonic content of the reverb, its resonance and its tonality. The SpaceBlender seems to sing, certain frequencies of the source material becoming exaggerated in a beautiful way, creating harmony and augmenting the original source. Pitch-shifted reverb is an age old mix trick to separate your reverbs from the source, and while SpaceBlender’s result is similar, it also adds its own unique stamp to the sound.

Beginning with the time control, the versatility of the plugin is on show with this knob; ‘Time’ allows you to dial the time of the reverb from 100ms up to a whole minute. The 100ms is barely discernable, instead giving a nice roominess to a sound, more akin to the Haas effect, whereas set to 100% and your reverb can bounce around endlessly as either a synth-like effect at lower ‘Mix’ settings, or with the ‘Mix’ set to 100% wet, a whole new instrument... but more on that later.

The Colour knob, or ‘Color’ knob from our American friends at Soundtoys, allows you to brighten or darken your reverb, but there’s a kicker: the Colour knob allows you to brighten or darken your reverb over time The reverb will start somewhere in the middle, and your settings will either make the reverb devolve into a darker, lo-fi sound or brighter, more forwardsounding effect at the other end.

Building on your Colour settings, the Texture knob allows you to meld in some grit to your reverbs, for either lush, clean sounds at one end and crunchy, gritty sounds at the other. Ironically, I found the grittier end of things best for helping to meld my reverb into the mix, a short ‘Time’ setting, brighter Colour and more texture helped give sources depth as if they’re sitting within a physical space and jumping out of the speakers. Cleaner reverbs can be more discernable from the original source, great for effect where more buried, textured verbs are better for the affect.

Thankfully, most reverb plugins will include a ‘Mod’ control, allowing you to add chorus-y modulation to your reverb, adding some movement to an otherwise static sound. If static is what you’re after, you can dial it right back

to turn the effect off, whereas dialling the Mod settings to max. gives a warbly, underwater effect; totally darkened verb where the beginning and end of the source meld together. The ‘Freeze’ control allows you to freeze the modulation settings where they are as the ‘verb feeds back on itself. The harder you’ve pushed everything else, the more obvious this feedback will be. This is probably best used as an automated effect but, hey... you do you.

We mentioned coming back to the Mix knob earlier and here we are. The extreme settings available in the SpaceBlender allow you to get pretty wild with sounds, and the Mix knob allows you to dial them right back for more subdued sounds if you wish.

Dialled right back, like 7 o’clock or so, and the SpaceBlender really nestles in besides your source, adding just a little space and depth, but not like any other reverb. The musicality of the reverb, whether dimed or subtle tucked in behind a source offers a unique take on space and reverb. The mix knob to 100% sings and moves like a whole new instrument, i.e. with simple guitar or synth notes for a wide, expansive synth sound.

In mixing land, the SpaceBlender’s tonality is already something I’ve found myself reaching for. There’s a bunch of reverb options available, of course, but a reverb that adds a sense of sonic identity? Now we’re cookin’. The SpaceBlender isn’t a tuned reverb, in the sense that you can’t set it to a key and it’ll resonate, instead it manages to pull the very foundation of a sound, whether by design or not, and add a sense of movement, depth, width, space and all those other things you’re chasing when adding reverb to something.

For something capable of such heavy handed processing, Soundtoys SpaceBlender fits well into a mix, without muddying things up, despite the harmony rich results. While maybe a mortal sin in some circles, I found myself using SpaceBlender to great effect on bass guitar. I generally like a little Spring Reverb on my bass, albeit with all the low end filtered out, just to give the bass the impression of being in a physical space. Springs can be bright, and poke their heads out of a mix, yet this is where the SpaceBlender excelled. A really short ‘Time’ setting gives a nice room effect, and darkening the reverb itself allowed the string attack to shine through, adding the depth I was after without detracting from the focus of the source. The bass guitar itself remained steady in the stereo field, the addition of SpaceBlender as an auxiliary effect just helped to crystalise it into a physical space. Equally good on guitars and synth, the SpaceBlender seems to work best on sources with rich tonality, like stringed instruments, keys and voice, whereas for sources like drums I felt myself dialling back some settings and going for a more ‘normal’ reverb sound; the SpaceBlender handled both with ease.

And now, here I am resolving this review with the fact that whatever I use it for, the Soundtoys SpaceBlender sounds damn good. If I had to pick a desert island plugin, well, the new SpaceBlender might just be it.

Open-backed reference headphones make me feel like I’m eavesdropping on the mix. I feel a bit like a fly on the wall—I’ve snuck into the studio and I’m witnessing the raw tracks in the act of becoming a real, tangible song. I can hear nuance with such clarity, allowing me to tweak parts of the mix with such precision, that listeners of the final published song will wonder how on earth everything sounds so cohesive and glued together.

There are only two ways to get that feeling of being locked into the mix while still open to the ambience of the room around you. You’re either listening through a set of sick studio monitors, or you’re rocking a pair of open-backed reference headphones. The Audio-Technica ATH-R30x Professional Open-Back Headphones bring a refreshing honesty to that aesthetic. There’s no hype or posturing about them. If you’re chasing detail, transparency and mix-ready performance on a leaner budget, or if you just want to hear your mix without ego, this is the set to reach for.

Audio-Technica has been a mainstay in studios, broadcast booths and bedroom setups since the late 1960s. They’ve earned their stripes by consistently delivering gear that sounds good, works hard and punches above its price point. Founded in Japan in 1962, the company started by designing phonograph cartridges. Over the decades, it launched products in the professional audio industry, etching its name across the faces of turntables, microphones, and headphones that found their way into studios, radio stations and stages across the globe. For many of us (including me), their M-series closed-back headphones— especially the M50x—were the first

real taste of pro-grade monitoring. But not every job calls for vacuumlevel isolation. That’s where the open-back R-series comes in. Their work with open-back designs is of a prestigious pedigree. The AT openbacked models are aimed less at casual listeners and more at critical monitoring, mixing and mastering. In these contexts, sonic honesty trumps everything else.

The ATH-R30x come in a minimalist white box with clean black typography. On the front is a high-quality side-profile image of the left earcup. Inside, the headphones are nestled in a wad of thick tissue paper and embedded in a notched cardboard platform. The only other thing in the box is the user manual, and all of the packaging appears to be recyclable, echoing the utilitarian philosophy of studio gear that’s built to work with no fluff or frills.

Crucially, the ATH-R30x are extremely lightweight: exactly 200 grams on the dot, according to my kitchen scales. After a long session, my current set of pro isolation reference headphones make my ears feel like they’re being slowly shrink-wrapped, so sitting in the mix with the lightweight open-backed ATH-R30x made me feel more equipped, less hindered and able to work for longer periods. Kind of like going for a run and swapping your trackpants out for a pair of rugby shorts. Making music can feel like a sport, right?

At the jack end of the neatly wound stereo cable is a gold-plated ⅛” stereo jack with a screw-on goldplated ¼” adapter. The other end of the cable splits off at a Y-branch 45cm below the headphones, each end joining neatly to the base of each earcup. The black steel grille over the open-back drivers gives off a modern industrial aesthetic.

Brand: Audio-Technica

Product: ATH-R30x

Distributed by: Technical Audio Group

RRP: $219

Reviewed by: Paul Blomfield

Twin headbands—a flexible plastic brace up top and a fabric-padded strap underneath—make for a snug and gentle fit. The velvet earpads are comfy enough to wear for hours, and the cups are large enough without feeling oversized. Even the L/R markings are clean and functional: a single white letter on a black background framed by brushed metal sliders. The sliders, incidentally, are notchless, meaning you don’t have to fumble around trying to find the ‘click’, but still tight enough that they won’t shift out of position unless you tell them to. The ATH-R30x design borrows from the DNA of its older siblings; the R50x and R70x. To my eye, it’s a design that evokes the hollow, feather-light bone-structure of some industrial bird: a delicate black frame that seems to almost disappear into imperceptibility when you put it on your head.

The muscle of the ATH-R30x headphones comes from a pair of 40mm dynamic drivers, tuned to deliver a frequency response from 15 Hz to 25,000 Hz, more than enough range to capture sub-bass and high-end sparkle. In practice that range feels less about extension and more about focus. The R30x don’t hype the low-end or carve

out the highs for flattery. They’re reference headphones, so they give you the whole picture, warts and all, which is exactly what you want in the context of a raw mix. With an impedance of 36 ohms, you can plug these straight into your laptop or interface without needing a dedicated headphone amp, and the 92 dB sensitivity means they appreciate a bit of headroom to stretch out. Rated to handle up to 1,000 mW of input power, they stay clean and composed even when driven hard, which speaks to their durability and reliability in real-world settings. These headphones will tell you the truth before the mastering fairy-dust goes on. If the ATH-R70x are the studio legend and the R50x are the ambitious all-rounder, the R30x is the quiet overachiever who shows up early, stays late, and doesn’t expect any extra credit or praise. They’re light, honest, comfortable and resilient—especially considering the price bracket. Audio-Technica has once again delivered a product that is premium without being precious, and surgical without being sterile. The ATH-R30x might just be the most transparent thing you can wear on your head.

Product: KC12 Powered 3-Way Column loudspeaker System

Distributed by: Technical Audio Group

RRP: $4499 - $4699

Reviewed by: Rob Gee

It’s been more than twenty years since I was first afforded the opportunity to test drive a column style portable PA system. We were all extremely impressed with the ability of these units at the time, especially given the size of the system, and the spread it offered. Whilst they delivered more than anyone expected, this style of portable PA just didn’t quite have the fullness of sound that bigger cabinets offered. They all started to sound a little bit ‘hi-fi’ in the sound reproduction, and left you wanting a little more. Of course, one couldn’t complain, with the ease of transport and small footprint on offer, but as time progresses, I think every musician looks for more in the gear they use. Step forward two decades, through countless reinventions of early designs, and the team at QSC have delivered the ‘more’ which we all look for. Let me introduce you to the KC12, QSC’s powered 3-way column speaker system.

So, before we talk about the unit, the build, the features, I want to get right to the heart of the KC12, and that is the sound quality. After all, anyone can reel off feature lists all day long, but what any musician will agree matters the most is what the audience hears, and in the case of the KC12, it’s good. This system offers a real full-range sound reproduction, just like what you’d expect from a line array system, just on a smaller scale. It’s not just a sub and a bunch of tweeters trying to fill in the space in-between. The midrange in the KC12 is what really makes this system stand out.

This is created with the 3-way speaker design to deliver a full sound experience. The base of the unit houses a 12-inch subwoofer, along with a 3000-watt Class-D power amplifier to drive everything. That’s right, 3000-watts! QSC are not mucking about here, they have ensured that the unit has the gas to really drive high SPLs without running out of headroom. They state a maximum SPL peak of 132dB without distortion, I can’t confirm that precisely, as I wasn’t able to drive the system to full volume in the space I was working with. And isn’t it nice to be able to have a little extra even when you’ve hit ‘loud enough’. Of course, this was just with a single unit, you can chain up to four KC12 systems together for some serious movement of air.

Up top, the column offers an angled housing for the high and mid-range speakers. Here we find two 4-inch mid-range drivers that really fill the sound out. Above these, there’s a 1-inch tweeter housed in the proprietary QSC

LEAF waveguide, which will be easily recognisable by anyone who has worked with their bigger line array systems. In an overly simplified explanation of this clever design, the LEAF waveguide essentially fans out the sound from the tweeter so the audience in the very front row, and those all the way up the back all fall into its throw. This delivers a crystal-clear high frequency response to each and every spot down the room.

Overall, the combination of 1, 4 and 12-inch drivers, backed with plenty of power from that 3000-watt amplifier do just what you want from a full-range column speaker. They deliver, and they deliver well, too. This makes them ideal as a presentation system that is easy to operate. It’s perfect for an acoustic solo or duo act that need a compact and easily transportable rig. It moves enough air for a DJ that wants a bigger sound in a smaller system. With Bluetooth streaming, it is also going to be an unbelievable party speaker system, with true stereo via Bluetooth when two or four units are linked. After all, if you don’t have a gig on, that doesn’t mean the KC12 has to stay packed away!

The Column design is very clever too. The speaker array is mounted into an ABS plastic housing on the top section of the aluminium column. The central section of the column can be removed to lower the array by about two and a half feet. All the wiring is within the column, with recessed connections in the joints, so it just pulls apart and slides back together, without the need to worry about cables. You can drop it down for a more intimate, seated acoustic performance, or when used up front on a higher stage. Or, add the column extension to have the array up around head height to get the sound across the room when set up at floor level. With an included tote for the array and column, it all sets up, and packs up, in about two minutes!

On the input side of things, there are two channels with XLR/TRS combination connectors. One will accept a Hi-Z signal, the other supplies phantom power. So, you can run a microphone and guitar straight in, all with DSP effects like reverb and delay, as well as the Digital Display allowing you to access Global Parametric EQ, Subwoofer level, Presets & Scenes and Bluetooth.

A third stereo input is available with either a mini jack connector, or wirelessly via Bluetooth. The most obvious setup would involve running a mixer to the two main channels to expand the capabilities of the column system. There are also a pair of assignable XLR outputs which can be used for linking column systems, as a recording output, or even for an additional subwoofer if you want to incorporate a big 15-inch sub into the mix.

In all, the QSC KC12 is a mobile column PA system, being compact and transportable, but harnessing the power of a professional level of sound and audio. It’s incredibly quick to set and take down, easy to move around and delivers more volume and a fullness of sound that goes beyond expectations. It’s available in a black or white housing to suit your style and reminds us all that you don’t need to go big to sound amazing. If you’re in the market for a PA system and had concerns about the sound you can get from a column system, you can set them aside now that the KC12 is here. I think it goes without saying, you need to get into your local QSC dealer and have a listen for yourself, and regardless of what the sales staff say... turn it up!

The Fender Laura Lee Signature Jazz Bass is a faithful recreation of the iconic instrument Laura Lee of Khruangbin played on stages across the world for almost a decade. From festival slots under blistering sun to late-night TV appearances, it’s been a worthy vessel for her vibe— visually distinct, sonically plush, and dialled to perfection for the subtle swagger that defines her playing.

Texas-based instrumental trio Khruangbin is one of those bands that transcends genre. They borrow the best parts of an array of disciplines—funk, soul, psychedelic, dub, surf rock, and melt them down into their core components, blending them together to create an alloy that is white-hot, rocksolid, and greater than the sum of its parts. Listening to a Khruangbin record feels like peering out from the eyes of a carrion bird as it swirls about desert canyons and whips past the campfires of weary travelers on cold, clear nights. Underpinning and anchoring that sound is the gooey, pillowy bounce of Laura Lee’s fingers on the flatwound strings of her bass guitar— warm, rounded, and perfectly in the pocket. It’s no wonder that Fender has honoured her with the Limited Edition Laura Lee Jazz Bass.

In interviews before, Laura explains the origins of her signature bass: a J-style instrument with an unexpected set of quirks that give it a charm of its own. Like Laura herself, it’s instantly recognisable, unapologetically unique, and impossible not to adore. Unlike most J-Bass owners, she chose not to rip off the chrome ashtray and neck pickup guard, opting instead to retain the classic aesthetic appeal, relishing the feature as a point of conversation among onlookers unfamiliar with such bold, pronounced fixtures. Laura also kept

Brand: Fender

Product: Limited Edition Laura Lee Jazz Bass

Distributed by: Fender Music Australia

RRP: $2499

Reviewed by:

Paul Blomfield

the foam mute pad in the bridge to mimic the velvety thump of an upright bass—a tonal quality that complements Khruangbin music like peanut-butter complements chocolate. Even Laura’s choice to stick religiously to flat-wound bass strings demonstrates her dedication to that woolly, syrupy tone.

The Limited Edition Laura Lee Jazz Bass has a 34” scale-length with a classically asymmetrical alder body, finished in a gloss polyester vintage white finish that’s reminiscent of melted butter or vanilla frosting. Alder has long been the go-to for Fender builds: relatively light-weight while delivering balanced tonal properties—clear highs, strong mids, and just enough low-end heft to keep things grounded. The middle layer of the 3-ply parchment pickguard is black, and the top and bottom layers are white, giving the illusion of a neat, thin black border—a subtle detail that draws the eye into the centre of the body.

Annexed onto the bottom edge of the pickguard is a chrome control panel that sits under the knurled chrome concentric (stacked) tone/ volume pots and the input jack. Concentric knobs are a clear nod to the original J Basses of the early ‘60s, giving the player control of both tone and volume independently for each pickup. Perfect for players who like to blend just the right amount of neck warmth with bridge bite and don’t want to mess around with four separate knobs.

Conspicuously jutting out of the pickguard just below the G string is

a tug bar—something of an oddity and more of an aesthetic fixture than a practicality to the modern bassist. Tug bars were originally intended for upright-style players (think James Jamerson or Bill Wyman), designed as an anchoring point to be gripped by the fingers while the thumb plucked downward. Today, it’s a vintage detail that’s rarely functional but incredibly charming, especially on an instrument so steeped in retro character.

The curious appointments continue with a chrome pickup cover and bridge ashtray, a nickel string tree, and vintage-style open-gear tuning machines with cloverleaf paddles. The tuning pegs add a comfortable mass to the headstock, subtly influencing sustain and resonance. Fun fact: this signature bass is so faithful to Laura Lee’s original instrument that Fender even reversed the tuning machines, meaning you have to turn clockwise to tune up and anticlockwise to tune down, making this bass feel like more of a personal artefact than a generic factory build.

The maple Custom “U” shaped neck is finished in gloss urethane and topped with a 9.5” radius rosewood fretboard with 20 jumbo frets and pearloid white dot markers. The Custom “U” profile is chunkier than most modern necks (closer in feel to a vintage P-Bass) but the smooth gloss finish means it doesn’t feel bulky or slow. The profile gives your fretting hand something substantial to wrap around while still being nimble enough to navigate Khruangbin-

style runs and soft, expressive slides. The .048 - .095 gauge flatwound stainless steel strings lend a streamlined, aerodynamic feel to left hand navigation. Paired with the vintage accoutrements, playing this bass feels a lot like running your hand along the warm hood of a 1940s Cadillac.

Both the bridge and neck pickups are passive DiMarzio HumCancelling Ultra Jazz pickups, the ideal choice for players who want clarity, responsiveness, and dead silence when you’re not playing. They’re designed to accentuate that rounded, pumping low end while still capturing snappy top-end articulation and a generous helping of harmonic sparkle. They’re voiced to thrive in mix-heavy contexts; focused enough to cut through reverbs, delays and modulation (all mainstay effects on Mark Speer’s pedal board) without stepping on toes. Paired with the flatwound strings and a foam mute under the bridge cover, they deliver that unmistakable warm, vintage bloom that is the mantle of Khruangbin’s sonic world.

Playing the Limited Edition Laura Lee Jazz Bass feels like stepping into a retro daydream. Everything about it is warm, bold and unctuous. It commands attention not only through its tone, but also through its feel and its dress. It’s a bass that invites you to play less, feel more, and look hot as the Texas Sun while doing it.

Brand: Gretsch

Product: G5230T

Sparkle Jet Electric Guitar

Distributed by: Fender Music Australia

RRP: $1199

Reviewed by: Christopher Hockey

Gretsch guitars are not known for having a subtle aesthetic. They’re bright, they’re loud, they’re ostentatious and that's how we like them. The way I see it, if you're going to get up on stage and request that people look at you for anywhere between twenty minutes (if you’re the Ramones) and four hours (if you’re Bruce Springsteen), you may as well be holding a cool sparkly guitar that looks like it was designed for Barbarella.

The Gretsch G5230T Sparkle Jet is that very guitar. It's a sparkly silver space-age wonder dripping with Gretsch’s retro-futuristic appeal and whoever wields it won't want for attention. From its slick single cut shape to its dazzling finish, the Sparkle Jet is a looker. Featuring simple, stripped back appointments, all the classic Gretsch trademarks and a big old Bigsby vibrato, it's everything you want in an affordable Gretsch and more.

The Sparkle Jet’s single-cut body is chambered mahogany, capped with a maple top for a rich, balanced sound. This robust acoustic foundation is integral to the Gretsch formula we all know and love and ensures a strong sonic profile. The body is relatively thin as compared to other well known single cut shapes which gives the guitar a sleek appearance and cuts down on excessive weight. The neck too is mahogany and is set nice and low for optimal access and performance. Even in an affordable model like this one, Gretsch have clearly prioritised using revered and trusted tonewoods.

The Sparkle Jet’s body is simple yet eye-catching. Its glitzy silver finish has a classy black and white binding and its glossy mahogany back and sides have a pleasant dark chocolate hue that almost looks red when the light catches it. Chrome hardware completes the look, consisting of two humbucking pickups, a three way pickup selector, four controls, an AdjustoMatic bridge and of course, no Gretsch would be complete without a B50 Bigsby.

The Sparkle Jet’s neck is incredibly comfortable and lightening fast. Featuring a classic thin U-shaped profile, this thing is built for speed. Combined with a smooth Laurel fretboard with a 12” radius, ensuring smooth effortless bends that never bottom out, the thin profile of the Sparkle Jet’s neck makes this guitar a lead player’s dream. The neck has a well balanced scale length of 24.6” inches and its gloss finish feels nice and smooth. Adorned with Gretsch’s timeless ‘thumbnail’ inlays, the Sparkle Jet’s Laurel fretboard is loaded with twenty-two medium-jumbo frets and has a lovely white binding.

The Sparkle Jet is loaded with two FT-5E Filter’Tron pickups, the beating heart of the inimitable Gretsch sound. The Filter’Tron design is integral to what makes Gretsch guitars sound so unique and their distinctive look is a huge part of the brand’s aesthetic. Whilst Filter’Trons are humbucking, they are quite low in output, resulting in an uncompressed, dynamic and, consequently, huge sound. They’re also a lot brighter than the average humbucker, making them very versatile.

In the neck position, the Sparkle Jet sounds warm and full without losing any of the clarity that Filter’Trons are known for. The bottom end is expansive but tidy, allowing the solid midrange and zingy high end to shine through even when overdriven. Whilst the full bodied punch of the guitar is in full swing in this position, that classic high fidelity Gretsch chime is present as ever, never letting the Sparkle Jet get too muddy.

The bridge pickup provides the shimmering high end and edgy midrange that Gretsch are famous for, perfect for country and rockabilly sounds when set clean and outrageous rock and roll tones when overdriven. This position exhibits as much chime and bite as you like, but never becomes shrill, always exhibiting that high fidelity sound that these guitars are revered for. In the middle position, both pickups can create a variety of timbres that are applicable to any situation. This is largely thanks to the guitar’s control layout which includes a very handy master volume.

Whilst each pickup has an individual volume control, it’s the addition of a master volume that makes the Sparkle Jet’s middle position so useful. The three pot setup allows players to set a tonal balance between the pickups that suits them, whilst still having control over their overall level. The fullness of the neck pickup and searing highs of the bridge work beautifully together, making the ability to maintain this balance at any volume invaluable. Additionally, the Sparkle Jet’s master tone control acts as a nice linear treble roll-off, providing a very usable myriad of tonal options in all three positions and giving players maximum control over their sound.

Despite the Sparkle Jet being one of Gretsch’s more affordable models, the attention to detail that was clearly put into it is very impressive. Small details like a silver plexi pickguard, pearloid fretboard inlays, classy knurled strap buttons, die-cast sealed tuning machines and the G-Arrow logos on the controls give the Sparkle Jet an up-market feel despite its modest price tag.

All in all, Gretsch fans who are familiar with the Jet will be right at home with this guitar. It is, in essence, a very simple version of the iconic single-cut model with few frills and a reasonable price tag. The new sparkle finish however brings an element of glam to the instrument that may attract a broader audience. The Sparkle Jet is good enough for the pros, with solid build quality and fantastic tone, but it's also accessible enough to make a very exciting and inspiring first guitar for a new player. And as I may have mentioned it also looks very cool because it's sparkly.

So if you’re a Gretsch fanatic looking to add a solid-body to their collection, a bit of a showboat looking to make a visual statement with their instrument or just a new player looking for a solid electric guitar with an exciting look, the Sparkle Jet could be the one for you. With great tonewoods, excellent build quality, a smooth, comfortable neck and that famous high-fi Gretsch sound, you can't really go wrong with this one.

For many, the EVH brand name will be synonymous with the classic Wolfgang shape that made its debut back in the early to mid-1990s. These guitars have become a popular choice for players looking for an instrument that boasts a feature set split between both traditional and modern.

Brand: Fender

Product: EVH SA-126 Standard

Distributed by: Fender Music Australia

RRP: $1799

Reviewed by: Jamie Colic

Subsequently, EVH continued to expand their range with the introduction of the EVH 5150 and Shark guitars. Both of which were a distinct tribute to the guitars worn by the late great axeman during the Van Halen band’s heyday back in the 1980s.

By this point in time, many could see a clear trajectory with the brand’s immediate direction. It seemed that EVH was focused on bringing players a variety of solid body guitars, aimed towards the hard rock and metal demographic.

However, in true Van Halen fashion, EVH decided to throw us a curveball. People who follow the work of Eddie’s son, Wolfgang, namely with his own band Mammoth, were enamoured with a Custom Shop EVH guitar that he was seen slinging whilst on tour with the band back in 2023.

The guitar featured a profile similar to the famous Wolfgang shape, and a dual humbucker configuration. Nothing too out of the ordinary there. However, what really got people talking was the new guitar’s custom F-hole, which indicated a hollow or semi-hollow body design.

Not only did this instrument break new ground for EVH as a company, but it also caused a resonant buzz amongst guitar-playing circles. One can only surmise that this was due to the fact that not many semi-hollow or hollow body guitars are marketed or designed for headbangers.

Finally, EVH announced a production model for Wolfgang’s guitar in mid 2024, the SA-126 Special. The guitar made a splash, so much so that as a result, we now have the SA-126 Standard in our eager hands!

The first thing I noticed about the SA-126 was the aesthetic. This guitar pulls off the elusive act of exhibiting both attitude and class simultaneously. I think this is due to the SA-126’s combination of both familiar curves with some more radical touches.

For instance, the SA-126’s subtly carved top gives credence to the classic hollowbody designs of the 40s and 50s, while its contemporary f-hole and headstock design are considerably more Skid Row than they are Chuck Berry.

EVH has opted to offer the SA-126 Standard in four finishes, including Pelham Green, Wine Red that we received for this review, Satin Vintage White and Piano Black. No matter where your tastes may lie, i.e. modern or traditional, I feel that this selection is a safe bet when it comes to appeasing the tastes of most contemporary rock guitar players. The White and Black models feature black hardware, while the Wine Red features classy gold hardware and the Pelham Green is contrasted with silver.

The SA-126 features a semi-Hollow design, meaning that the guitar boasts a solid centre block with hollow wings. This method of construction led me to immediately realise how easy the SA-126 was to handle when it came to daily playing.

Whether it be practice, rehearsal or performance, the SA-126 is an extremely comfortable guitar to wear on a strap or place in the lap. The body shape itself feels somewhat similar to the token single-cut guitar that we all

know and love, with a few welcome tweaks for better upper fret accessibility.

The mahogany body with maple top is a wood pairing that will be familiar to most guitar players, providing a warm and fat sound both acoustically and when amplified. The SA-126’s Semi-Hollow construction only serves to further accentuate these sonic traits, a characteristic that I feel most players will welcome with open arms.

Another standout feature of the SA-126 is its fantastic neck. Adopting a signature 12”-16” radius rosewood fretboard commonly associated with other Fender brands, such as Jackson and Charvel, the SA-126 has a feel unlike any other Semi-Hollow guitar. This vibe is only further accentuated by the EVH’s satin-finished baked maple neck with a EVH Modified “C” Backshape.

I found the neck profile on this instrument to be very comfortable. The “Modified C Backshape” is thin enough to appeal to even the most seasoned of shredders, whilst not being too thin as to put off big riff players. The satin finish also has the added advantage of preventing any stickiness that can be a common affliction with gloss-finished necks after extended playing sessions.

22 jumbo frets round out the unbound neck, which I found to be finished and levelled particularly well on this model. Whilst on the topic of the neck of this guitar, I should also mention that the SA-126 adopts the classic 24.75” scale length. Providing a smooth and slinky feel, particularly when employing bending and vibrato.

Like always, Fender has also taken the time to provide a quality hardware package on this EVH. The EVH Tune-O-Matic bridge not only feels familiar, but it also makes for easy and efficient setting of intonation and bridge height. This means that your guitar will spend more time being played and less time on the tech’s workbench.

Additionally, the EVH Keystone tuners are indeed quality units. Not only do they look the part, but they also provide reliable tuning stability. Especially when combined with the supplied Graph Tech TUSQ nut, you’ll have no worries with the SA-126 Standard regardless of what tuning you play in.

That leaves the electronics setup, which has been designed with versatility in mind. Two Tim Shaw-designed SA-126 humbuckers do the bulk of the heavy lifting, providing hot-rodded PAF tones that clean up quite nicely when rolling back the volume control.

This guitar features a classic Kalamazoo control layout, working in separate volume and tone controls for each pickup as well as a 3-way switch. This, once again, imparts an air of familiarity to the SA-126, especially for players who have a penchant for traditional single-cut designs.

Wolfgang has stated that versatility was key when it came to designing the SA-126 Standard, and the Special that came before it, and with this being the goal, I’d say that EVH has knocked it out of the park. Providing a production model that boasts quality whilst combining both traditional and modern ideas, all at a price that is obtainable for the working player.

Brand: beyerdynamic

Product: DT 990 PRO X open-back headphones

Distributed by:

Syntech

RRP: $399

Reviewed

by:

Lewis Noke Edwards

beyerdynamic produce headphones that are built to last. From robust build quality to replaceable headbands, ear cups and cables. There’s something about a great pair of headphones that helps us more easily understand the musical moves we’re making, especially with a low ohm rating like the beyerdynamic DT 990 PRO X. The STELLAR.45 drivers (48 ohms) allow you to easily jump between studio and home without struggling to drive them without a headphone amp, making them perfect for referencing on the go.

These headphones are built in Germany by people who understand what it’s like to have a trustworthy pair of headphones that you rely on session after session, no matter where you are.

The revised drivers are just the beginning of a classic headphone renewed, the DT 990 PRO X building on the classic DT 990 PRO’s design, being an open-back design as opposed to the 770s that can be used for more isolation to both listener and those around you.

The low end on the DT 990 PRO X is true, and not overtly hyped like in some headphones. There’s an air of accuracy to it all, without being clinical, and I quickly found myself

identifying issues that might’ve otherwise slipped through. Roughly balancing a mix on the DT 990 PRO X’s had my work translating better than before on a few different systems, also allowing me to jump between the studio and home with the same great, precise and accurate sound. The open-back design provides a natural lift to everything, without introducing harshness, and instead feels like a spotlight on your music, problem areas (and the solutions) immediately illuminated.

The DT 990 PRO X feature beyer’s classic open-back design, being supremely comfortable for extended periods of time, the openback allowing for airflow as well as a more balanced sound and giving the drivers space and air to breathe.

The addition of the PRO X brings the STELLAR.45 to the already classic headphone design used around the world. beyerdynamic’s closed-back design in the 770s provide superior isolation for recording, while the 990s are supremely suited to editing and critical listening, providing an airy sound and comfort for long sessions. These also respond from 5Hz up to 40kHz, meaning you’ll feel and hear every ounce of sound from your source.

Detailed sound makes the DT 990 PRO X a great companion for the producer on the go. Use them at the studio with a headphone amp, but trust them equally at home on a laptop, or even referencing mixes on your phone on the go!

The aforementioned STELLAR.45 drivers feature neodymium magnet and precision copper coil for sound that is dynamic, low-distortion and very true to source; above all else, they’re trustworthy.

The headphones include a removable mini-XLR connection, allowing you access to various cable types and lengths, i.e. for connection directly to a smartphone or other system. For coiled cable devotees like myself, the removable cable is a great addition!

The headphone band and ear cups are removable and cleanable, allowing for a lifetime of care and maintenance on the beyerdynamic DT 990 PRO X. Building on the classic DT 990 PRO design, a studio mainstay, the DT 990 PRO X features a more comfortable, redesigned headband featuring a fontanelle recess; these headphones are with you through and through and won’t be a problem working for hours and hours! When inspiration strikes, the

last thing you want is a hindrance! The headphone jack and included ¼” adapter are also both gold plated, ensuring premium audio is transmitted for a lifetime! Supremely matched for critical listening, the 990 PRO X’s design has audio anomalies, imperfections, mistakes and edits clearly audible, a match made in heaven when referencing against a set of equal trust studio monitors. A few different places to reference mixes and music is an incredibly important tool for music makers, some great studio monitors are fantastic, and are a great set of headphones can be used to reference both in the studio and on the go— and there’s nought much better than the new DT 990 PRO X, a studio classic revised for the modern day and filled with all that beyerdynamic has to offer.

The dual-channelled, Paul Reed Smith Archon 50 Classic Head is a tanky, riff-summoning monolith. Six—count ’em—SIX 12AX7 tubes in the preamp deliver glassy cleans and complex gain, while a pair of 6CA7s push a bold, mid-forward roar that blurs the line between British and American voicings. It’s old-school power with modern clarity and a face like a modern reissue of a 70’s muscle car.

Brand: Paul Reed Smith

Product: Archon 50 Classic Head

Distributed by: Electric factory

RRP: $2499

Reviewed by: Paul Blomfield

Paul Reed Smith has long been synonymous with meticulous craftsmanship and tonal versatility. While their guitars have been gracing stages across the world since the mid-80s, the brand’s foray into amplification kicked off more than 20 years later. Vintageinspired boutique models like the Dallas and Sweet 16 leaned into classic American and British style tones with a focus on touch-sensitivity and clarity. The original PRS Archon, which first saw the light of day in 2013, marked a decisive pivot into heavier, more aggressive territory. The Archon was celebrated for its ability to dish out searing high-gain tones while still retaining crystal clarity in its clean channel (honestly, kinda rare for the time). In case you’re wondering (and haven’t Googled it yet), Archon is Greek for ‘ruler’ or ‘lord’; a classic PRS flex on its high-gain credentials and the finesse and precision that defines the brand.

In 2025, PRS follows up with the Archon 50 Classic Head: a reimagining of the staple stage-amps that belted out blazing ballads and blistering rock anthems in the ‘70s and ‘80s. The Archon 50 Classic offers a refined gain structure, particularly in the mids, and a clean channel that effortlessly transitions from sparkling, icy cleans to a crackling warmth that lives right in the sweet spot between clean boost and that first crunchy flicker of light breakup. This amp is for players seeking both vintage-inspired tones with modern reliability, and snarling, mid-heavy, high-gain heat. A bit like an antique leadlight window into the past, mounted in a contemporarily engineered frame.

Packaging says a lot about a brand. I will die on this hill. The Archon 50 Classic I tested for Mixdown came inside a generic brown box with the Paul Reed Smith signature emblazoned on the side. Or so I thought. Opening the brown box revealed... another box. This one black and glossy and boasting a high quality photograph of the product alongside a very bold claim that it was capable of producing a “TIMELESS TONE” (spoiler alert: it was). The packaging material inside was meticulously cut and arranged; an aesthetic directly transferable to the actual products crafted by PRS. My joy peaked as I lifted back the styrofoam and encountered a cardboard top-panel factory overlay, printed with quick-start set up info, explanations about the preamp & power amp controls, and—the pièce de résistance—a range of suggested tones (all the way from ‘60s Brit Blues to ‘80s Glam Rock) complete with control-panel schematics and dial settings for each tone. A monkey with no ears could dial a good tone into this amp. The head itself clocks in at 56cm x 25cm x 23cm, is wrapped in textured black tolex and has a brushed metal faceplate and Paul Reed Smith signature plate screwed to the front. It is understated but classy; dark and mean, almost wraithlike in

its confident simplicity. If Gandalf turned one of the Nazgul into a guitar amp, it would look something like the Archon 50 Classic.

As I touched on earlier, there’s a stack of six 12AX7 preamp tubes and two 6CA7 power tubes under the hood. The 12AX7s are a high-gain staple, famous for delivering articulate saturation and responsive dynamics. Running six of them means you’ve got a ton of headroom for each of the dual channels. Tonally, the 6CA7 tubes live somewhere between an EL34 and a 6L6, so you’re getting the chewy midrange growl you might find in a British amp, but with the low-end clarity and tighter response of an American amp. It’s a hybrid personality that gives warmth and articulation without sounding too scooped or flubby.

From left to right on the front panel, you’ve got your ¼” input jack, channel switch (up for lead, down for clean), lead channel controls (volume, treble, middle, bass, master), clean channel controls (ditto), power amp controls (presence and depth), a red power indicator LED that could illuminate a small stadium, and a very vintage power toggle switch (up for on, down for off). Both channels also come with a bonus “bright” switch that adds high frequencies, giving you extra twinkle and shimmer on your cleans, or an airy sizzle on your leads. Round the back and from left to right, you’ve got your 110W power input, ¼” send and return effects loop inputs, footswitch input (yes, there was one in the box), bias jacks (for professional use only), and three sets of speaker jacks (one set for 1x4Ω or 2x8, one set for 1x8 or 2x16Ω, and a single output for 1x16Ω).

Here’s a list of standout moments during my experience playing through the Archon 50 Classic Head. My pick attack cuts through like a hunting knife. Flicking the bright switch on the lead channel almost feels like hitting an overdrive stomp box with the tone and treble dials all the way up. The clean channel is so pristine and pure it feels like I’m playing atop a frozen lake. I can’t remember the last time an amp so well articulated the position of my right hand while palm muting and had such a dynamic gain response to different right-hand picking techniques.

So what’s the verdict? The PRS Archon 50 Classic Head proves that raw grunt and contemporary refinement don’t have to be mutually exclusive. You can play delicate, shimmery chords on one channel, and molten mid-forward chugs on another without an array of pedals. This is boutique gear with a spritz of intellectuality, built for players who want clarity and power without compromise. It’s a tool built with the same obsessive precision that Paul Reed Smith puts into his guitars, and is worthy of having his signature bolted onto its face.

Brand: Apogee

Product: Symphony Studio 8x8

Distributed by: Link Audio

RRP: $4999

Reviewed by: Jamie

Colic

Apogee is a name synonymous with solutions for the audio professional. Dating back decades, they were the first to offer upgrades for the reel-to-reel digital tape machines that became prominent in studios worldwide. Fast forward to 2025, Apogee audio interfaces and converters are considered a common standard within the audio industry.

This legacy continues with Apogee’s Symphony line of audio interfaces, which have sat high on the list of studio-grade converter and audio interface solutions for years. Apogee have packed a plethora of new ideas into a product line that has already been very successful.

So, how does one go about making a good thing even better?

Well, it's easy to tell that Apogee have put a considerable amount of time and consideration into the needs and requirements of the modern musicianbased, composer-based, project, mixing and immersive studio.

The new family of Apogee Symphony Studio USB-C Audio Interfaces are specially tailored to meld seamlessly into modern workflows, mating Apogee's world-class converters with pristine high-quality preamps that offer a whopping 75dB of gain on each channel.

For this review, I have been supplied with the Apogee Symphony Studio 8x8 model. This interface is nestled between the 8x16 and the 2x12, offering eight inputs and outputs, with eight in-built mic preamps, the Studio 8x8 is catered predominantly towards home studio producers and musicians. This new range of interfaces is designed with surround and immersive sound in mind, with the 8x16 having enough outputs for 9.1.6 immersive mixing, the 2x12 for 7.1.4 immersive mixing and the 8x8 for 7.1. surround mixing.

The front panel of the Apogee Symphony Studio 8x8 boasts two independent headphone outputs, providing the perfect arrangement for home studios in which live instruments are being tracked during the session. Apogee makes it easy to provide effective and intuitive monitoring solutions so you can spend more time making music and less time scratching your head figuring out complex routing solutions in over-complicated GUIs.

The rest of the unit's faceplate remains clutter-free and easy to decipher. Two separate buttons are dedicated to input and channel selection, as well as a separate button to engage 48V phantom power, and Apogee's patented Softlimit dynamic control parameter.

Apogee has granted us two primary methods when it comes to controlling the Symphony Studio 8x8 Audio Interface. The one that I imagine most users will utilise is found on the unit itself which, as I mentioned previously, Apogee have made quite straightforward to use.

Setting up an input signal is as easy as pressing the input button, which will bring forward a selection screen on the unit's LCD screen. Selecting the appropriate input entails turning the Symphony Studio’s control knob until the desired channel is selected and then pushing the control knob inwards. From here on, the process is just as simple, requiring the user to either select or bypass phantom power and then set the input gain level with the control knob just as you would with any basic mic preamp.

The secondary means of control for the Symphony Studio 8x8 can be found within Apogee's Control 2 software, which can work as a standalone digital controller for the device. Using Control 2’s intuitive GUI makes the process quite similar to how one would go about setting up an input signal within the unit itself, albeit with the benefit of remote control.

Getting output signal from the hardware is also extremely simple, as after setting the interface as the output device for the computer, pressing the headphone button located on the faceplate of the unit will immediately bring forward an output meter. At this point, it is as easy as using the unit's control knob to set the desired output level and pushing it in to confirm the selection.

To hear input signals through the unit's headphone outputs, it is as simple as opening the Control 2 software, enabling the low-latency mixer, and changing the source for headphone 1 or 2 to “Mixer 1”.

Getting up and running with the Apogee Symphony Studio 8x8 was both fast and headache-free. I was running a signal into the unit within a matter of minutes, which freed up my capacity to further explore the unit's more advanced features.

It’s at this point in time that I feel it necessary to highlight that the Apogee Symphony Studio line outputs all signals via DB25 connector. For those not familiar, DB25 “or DSUB” can effectively carry 8 audio signals that would usually travel via 8 separate XLRs with a single connector and loom.

The reason for this on Apogee’s end is that it means that each unit in the Symphony Studio line will only hold 1 rack space whilst still being able to accommodate outputting signal to a number of monitoring and outboard gear options.

Thoughtfully, Apogee have also provided all models within the new Symphony Studio line with a selection of handy input and output DSP.

For example, I found great usefulness in the units onboard bass management controls, which provide effective low-pass and high-pass filters, enabling the user to fine-tune the bass response of their monitoring system. This type of feature would essentially be used to seamlessly incorporate a subwoofer into a monitor array by precisely controlling slopes and crossover frequencies.

The ability to fine-tune the response of your monitoring situation is further influenced by Apogee's included Room EQ utility, providing 16 bands per speaker, ensuring that you are able to dial in a great monitoring experience regardless of which space you may be working out of or th amount of speakers you’re using! Speaker delays round out the units' outboard DSP, allowing you to compensate for differences in front, rear and side speakers, as well as your listening position.

Apogee have done much to improve on the already well-established Symphony line of audio interfaces. The Symphony Studio 8x8 is a great solution for anyone looking for an audio interface that will provide the utmost in listening quality and conversion, with the required I/O to support a variety of monitor workflows.

Sennheiser understand the plight of top-knotch audio, and the Profile Wireless is a move towards great quality audio wherever you are, and more portable than ever. The Profile Wireless is an all-in-one portable solution, allowing for world-class quality sound from a surprisingly compact and robust unit. The unit can now feature 32-bit float audio via an update, effectively removing the risk of distortion and allowing for crystal clear audio no matter the scenario. While it’s not generally advisable to ‘fix-it-in-post’, 32-bit float gives you the freedom for a huge amount of post processing, both loud and quiet signals being entirely treatable after the fact thanks to the huge dynamic range.

32-bit float expands the traditional digital recording limits of 24-bit, effectively preventing any risk of distortion at high levels, but pushing down the noise floor so far that even low level sources are still entirely audible and, best of all, fixable in post! From whispers to motorbike engines, 32-bit float provides crisp audio with high dynamic range to ensure it’s concise and audible.

The Sennheiser Profile Wireless set includes two clip-on mic transmitters and a receiver, as well as accessories for transporting, mounting and protecting your unit. I had the unit up and recording in moments, quickly figuring out that I could lock the screen to prevent making adjustments while recording, as well as easily access to adapters and connection

Brand: Sennheiser

Product:

Distributed by:

Profile Wireless 2-channel microphone system

Sennheiser

RRP: $559

Reviewed by:

Lewis Noke Edwards

options. A few quick presses of some latches and I had some unassuming transmitters and a receiver in hand, easily connectable to whatever gear I have to record with! Clear metering is very helpful (even in sunlight, an area a lot of small screens fall apart in), as well as clear indicators of recording status and battery life.

Seven hours of battery life is available, the transmitter and receiver themselves connecting without the need for an app— just start rolling. Connect to a camera, computer or phone, whatever is convenient, the transmitters themselves featuring 16GB of internal storage available for recording, approx. 30 hours of internal recording.

For those after an even more cost effective and mobile solution, Sennheiser also offer a 1-channel version of the Profile Wireless. The same portability is available for solo creators or those who just need to record one signal; the 1-Channel Profile Wireless features the same connectivity and innovation, including the 32-bit float update, while also being able to be integrated into a larger system in the future if needed.

In use, the Profile Wireless system is a breeze, perfect for creators of all kinds, from music influencers to vloggers and journalists to songwriters and content creators. As creators will know, separate systems for recording and audio can yield off-kilter results when not sync’d properly, and so an all-in-one option can be the solution.

The Sennheiser Profile Wireless receiver can connect easily to a phone, for example, allowing you to shoot high quality video with perfectly sync’d audio via the Profile Wireless Transmitter at your source, the high quality audio allowing for dynamics and clarity to shine through. Versatility is the name of the game with the Profile Wireless though, being a viable option for many types of audio capture. What’s more, the Profile Wireless’ charging bar doubles as a handheld option, its size and design makes it the first to offer a handheld option without the need for additional handles and accessories.

Adjusting gain, headphones and more are easily available on the transmitters and receivers, for easy use and ensuring you’re up and running quickly. Each transmitter also features an additional input for lavalier connection via a TRS connection if you’d prefer, for a more subdued visual!

Small but feature heavy additions to the Profile Wireless are what make it so special, the clipon mics/transmitters themselves having recording capabilities for back-up audio, as well as small handy features like the screens re-orienting depending how they’re being held so you’re always looking at them the right way up. Safety Channel mode also records duplicate inputs, one at -6dB, so you’ll have a backup file if you discover your main recording has clipped. The receiver also has a high-pass filter available for filtering

out low end rumble like traffic noise, air conditioning and more!

The Sennheiser Wireless includes everything you need to be up and running, the included carry pouch also making sure your Profile Wireless stays safe and dust free while travelling!

The world of content creation isn’t always about creating videos in a curated set, a lot of it can be in the field, the same as making music. Sometimes inspiration strikes at inopportune times, and high quality demos on the road or at home can really help keep the creativity flowing for a musician. Content creation at large events for either interviews or general video making can be a real challenge, but the Sennheiser’s ability to quickly transform from a handheld, battery-powered recording device to a recording medium for use with a camera is what pushes it ahead of the pack. It’s as ready for you as you need it to be, with included adapters and connection options for just about any setup. As if the existing safety net like Safety Channel mode and easily accessible gain controls weren't enough, the addition of 32-bit float via an app makes for consistent and great sounding audio no matter happens. And you’ll bet your bottom dollar that you’ll be caught out unawares one day, unless you’ve got your Sennheiser Profile Wireless handy.

MY RIG: KING YOSEF

Your music floats between industrial, metal and electronic, how do you define it?

I normally say it’s like industrial metal or industrial hardcore. The goal is the same of the genres but is rooted heavily in using synthesis and sampling to get there.

Some of your arrangements and instrumentation is quite unconventional, how does a song start for you?

Most songs for me have to start with the vision of the track. I’ll think ‘I want something that feels like this’ and I follow that. Mostly it’s chopping samples I’ve recorded and drums, finding tempo. The rest is all variable. I won’t even know if a song is a guitar song until the last moments of it being written.

Do you think about performing live while composing/ writing/arranging? Or do you just make the song and figure out the live parts later?

I do now but I certainly didn’t when King Yosef was a bedroom project. It’s still a lot of figuring it out later but I always see the studio as a tool and the recreation of what you make there is always going to differ. If it differs, it should feel more intense.

Is there one specific piece of gear that you find yourself reaching for or using that always achieves the sound in your head?

Either my Sequential Prophet 6 or a guitar. After that it's always iZotope Trash 2 and some sort of reverb or modulation plug-in.

How much does the live show differ from the recorded version in terms of instruments and layers?

Every song is sliced down to its bones and rebuilt back up for live purposes. There are certain things that we decide to leave in and what will be performed live. Most times Cameron (guitar/synth) is performing anything that is a focal point of the song like he’s playing a sampler. The structure stays the same but nowadays we are learning more towards opening it up, changing things as we go with the new album underway and playing some of these songs almost a hundred times.

What kind of gear are you bringing on the road to recreate the intensity and weight of your recorded music?

Huge one for us is the MPC X. It’s basically a computer as a standalone sequencer and it does everything we can possibly need. This next tour cycle we are about to announce, it’ll be the backbone of the set still but with a huge overhaul on how we use it. It’s a tank and I love it. I'd love to incorporate more of the MPC devices into our flow!

PAMBULA BEACH, NSW 4-5 OCT 2025

SATURDAY 4th OCTOBER

MISSY HIGGINS SAINT MOTEL USA

HOCKEY DAD MAGIC DIRT LAVERN NL

PIERCE BROTHERS GRACE CUMMINGS FOLK BITCH TRIO

JOHNNY CASH RECORDINGS w HENRY WAGONS O & THE MO NZ

JACK BOTTS THE TULLAMARINES DUST MAD.DAY*

SUNDAY 5th OCTOBER THE LIVING END BOY & BEAR JACOB BANKS UK PETIT BISCUIT FR

NIKKI LANE USA CUT COPY (DJ SET) THE VANNS DUG IRL EMMA DONOVAN SYLVIE USA THE BURES BAND GROOVE SOCIETY* JIMI THE KWEEN* 50+ MUSIC & ARTS ACTS * Playing both days