Winston McCall and Joel Birch discuss Park Waves, a spectacle for the ages
We monitor the new KRK Kreate series | Electro-Harmonix Pico pedals | We talk to Supercool Pedals | Pseudo balancing in the recording studio | Reviewed: Allen & Heath Qu-5D, Fender American Ultra Luxe ‘50s Telecaster, Headrush VX5 Vocal Processing Pedal + more!
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
Parkway Drive
Escape the Internet
Convenience Store
Mincy
Angel Vivaldi
BIGSOUND
In Focus: Phil Jones Cabs
Ordio Productions
In Focus: KRK Kreate
In Focus: Supercool Pedals
Electro-Harmonix Canyon Echo and 3-Verb
Product Reviews
My Rig: Adrian Cappaletti
EDITOR
Lewis Noke Edwards
PUBLISHING DIRECTOR
Patrick Carr
ADVERTISING AND PARTNERSHIPS EXECUTIVE
Liam Brazil
DESIGNER
Kelly Lim
CONTRIBUTORS
Rob Gee, Christopher Hockey, Jamie Colic, Will Brewster, Paul Blomfield, Juliette Salom, Chris Brownbill
FOR ADVERTISING OR CONTENT PARTNERSHIPS advertise@mixdownmag.com.au
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PUBLISHER
Furst Media Pty Ltd
FOUNDER
Rob Furst
As much as you might feel like music making has you isolated from others, creating and writing, mixing and mastering all on your own, it’s inherently a team exercise and it’s important to keep your people-skills front of mind.
Songwriters might work with engineers and producers to get their songs out into the world, and sometimes a label will follow that, again involving a team to work with. Mixing engineers might have their work mastered by an external engineer, so it’s important to understand both what you’re role in the process is, as well as delivering files to that engineer that they can work with.
A lot of people can become very rigid in their workflow, immovable and stubborn, and no amount of feedback, advice, or even crises will make them change, so it can be difficult to move ahead with a project. If I can leave you with some advice, it’s this: have empathy for those you're working with and play nice! Stay organised. Stay humble.
Music and creativity is ultimately a community exercise and we need to make sure our role within the process is not hindering another, nor is it adding weight to an already difficult industry.
Lewis Editor
EDITOR'S NOTE
…PLUS MORE
SATURDAY 14 FEBRUARY - LANGLEY PARKFRIDAY 20 FEBRUARY - ADELAIDE SHOWGROUND -
SATURDAY 14 FEBRUARY - LANGLEY PARK - PERTH, WA
FRIDAY 20 FEBRUARY - ADELAIDE SHOWGROUND - ADELAIDE, SA
SUNDAY 22 FEBRUARY - GEELONG SHOWGROUND - GEELONG, VIC
SATURDAY 28 FEBRUARY - CARIBBEAN GARDENS - SCORESBY, VIC
SUNDAY 22 FEBRUARY - GEELONG SHOWGROUNDSATURDAY 28 FEBRUARY - CARIBBEAN GARDENS -
SUNDAY 1 MARCH - BENDIGO JOCKEY CLUB - BENDIGO, VIC
SUNDAY 1 MARCH - BENDIGO JOCKEY CLUB -
THURSDAY 5 MARCH - THOMAS DALTON PARKSATURDAY 7 MARCH - SYDNEY DRAGWAY -
THURSDAY 5 MARCH - THOMAS DALTON PARK - WOLLONGONG, NSW
SATURDAY 7 MARCH - SYDNEY DRAGWAY - EASTERN CREEK, NSW
SUNDAY 8 MARCH - MAITLAND SHOWGROUNDTHURSDAY 12 MARCH - -
SUNDAY 8 MARCH - MAITLAND SHOWGROUND - MAITLAND, NSW
THURSDAY 12 MARCH - QUEENS PARK - TOOWOOMBA, QLD
SATURDAY 14 MARCH - CAVANBAH CENTRE - BYRON BAY, NSW*
SATURDAY 14 MARCH - CAVANBAH CENTRE - NSW
SUNDAY 15 MARCH - SANDSTONE POINT HOTEL - SANDSTONE POINT, QLD
SUNDAY 15 MARCH - SANDSTONE POINT HOTEL -
GET A FREE NORD SOFTCASE WITH YOUR NEW NORD GEAR!
From August 1st to August 31st, 2025, purchase a Nord keyboard from an authorised Australian Nord Dealer and receive a FREE Nord Softcase via redemption!
What’s more, one lucky customer will win a pair of Nord Piano Monitors valued at $1149!
• Buy a Nord keyboard from an Authorised Australian Nord Dealer between August 1 and August 31, 2025.
• Register your purchase by completing the form below and uploading a photo or scan of your receipt.
Final date to register: September 5, 2025.
Please collect your softcase from your dealer. Shipping costs are your
Product News
Mark Holcomb, renowned for his groundbreaking work with progressive metal band Periphery, brings his signature style and precision to an updated guitar built for versatility and power.
PRS Guitars today announced the return of a Mark Holcomb six-string signature guitar to the Core Series, 10 years after the original. Offered in 2015 as a limited release only, this new version will be a regular part of the Maryland lineup.
Holcomb’s innovative riffing, a cornerstone of Periphery’s dense triple-guitar sound, comes to life on stages worldwide with his PRS signature models. After the initial collaboration on a limited release of Holcomb signature Core models, Mark worked with PRS to create the SE Holcomb and the seven-string SE Holcomb SVN.
Ernie Ball Ships Glow-In-TheDark Patch Cables!
CMCMUSIC.COM.AU
Ernie Ball Glow-in-the-Dark Flex patch cables are designed to add a luminous touch to your playing experience. They feature a high-quality design with superior components built to last. The single-conductor design provides crystal-clear tone, while the low-profile connectors and supreme flexibility allow for
optimized pedalboard layout. Flex patch cables utilize 95% shielding to reject unwanted noise and preserve your signal, and the durable PVC jacket exterior ensures lasting performance.
PRODUCT FEATURES:
• Glow-in-the-Dark
• Optimized low-profile connector ideal for pedal boards
• 95% shielding for low noise
• Reliably clear signal with natural frequency response
• Quality construction
Limited Lifetime Warranty
Markbass Ships Ninja Approved CMD Traveler 102 P V Vertical 2x10” Combo
CMCMUSIC.COM.AU
Designed in collaboration with Richard Bona, this 2x10" combo features the new Little Mark 58R Combo head, with a new bi-band limiter, MUTE switch and a 3-way switch that includes the options of Flat, Scooped or FSW controlled EQ. It's the perfect choice if you’re looking for a light, portable combo. Like the other series V combos all connections and controls are on the front panel, leaving only speaker outputs and the power socket on the rear panel - offering optimal ergonomics and making everything that bit more practical. This compact and lightweight combo delivers exceptional depth, dynamics and volume, and the vertical 2x10” design means you will always have space on stage, even in the smallest venue!
New Thalia capos landing now at EGM!
EGM.NET.AU
Thalia Capos represent the very best in capos, providing consistent fretting as well as good looks. With capos finished in a range of beautiful woods, like Hawaiian Koa or Santos Rosewood, as well as more exotic finishes like Mother of Pearl or Blue Abalone Shell, they have something that suits your style, sonics and aesthetics.
Various other accessories are available from Thalia, including additional radius kits to fit any and every neck shape, as well as pick pucks to store your picks until you need ‘em!
Jay Weinberg, the multi award winning drummer of Suicidal Tendencies, is the newest member of the ever growing Porter & Davies artist family.
TURRAMUSIC.COM.AU
Porter & Davies produce tactile monitors that allow every punch of the kick drum to pulse through a drummer’s body, including Jay Weinberg on his current tour with Suicical Tendencies, adding another dimension to the playing experience.
Weinberg, the son of long-term Bruce Springsteen drummer Max Weinberg, and Slipknot drummer from 2013 to 2024, is currently the drummer of Suicidal Tendencies and Infectious Grooves. He has received many accolades in the drumming world, more recently voted Best Metal Drummer 2022 by Music Radar / Rhythm magazine, 2022 Metal Drummer of the Year by Drumeo and 2023 Best Metal Drummer / #1 Rock Drummer in Modern Drummer Readers poll.
PRS add Mark Holcomb signature to their Core series
Range of Matchless Amplifers grows at Gladesville Guitar Factory!
GUITARFACTORY.NET
Matchless Amps hold a special place in the hearts of many guitarists, their boutique conics being matched by their aesthetics. Borrowing and building on some classic amp designs, Gladesville’s range of amplifiers, in heads, cabinets and combos, is growing.
The iconic backlit design of the Matchless logo can be found across a range of amps from the Clubman 35W, SC30, the Nighthawk, Lightning and more. Shop the in-store range of special order your dream amp!
HARMAN
Professional Solutions appoint MadisonAV as EXCLUSIVE audio & video distributor in Australia
MADISONAV.COM.AU
HARMAN Professional Solutions, the global leader in audio, video, lighting, and control systems, today announced the consolidation of its audio and video control distribution in Australia.
From 1 August 2025, MadisonAV will become the exclusive distributor for the complete HARMAN Professional audio and video portfolio across the region. Distribution of the Martin Professional lighting portfolio will continue with Show Technology.
Consolidation of distribution in the region reflects HARMAN Professional’s heavy investment in software platforms including
JBL Venue Synthesis (3D acoustic simulation software) and FLUX:: which enables the delivery of outstanding immersive experiences for a wide variety of applications including content creation, live production, installed sound and post-production. In addition, HARMAN continues to invest and innovate in its install portfolio with new products and platforms including AMX MUSE, BSS Soundweb OMNI, AVX software suite and refreshes of the JBL Control Contractor range.
WINWITHCASIO.COM.AU
From 9:00am AEST on 11 July 2025 to 11:59pm AEST on 31 August 2025, purchase a selected Casio keyboard or digital piano from a participating retailer and receive up to $300 cashback! Simply buy your instrument, then claim your cashback online with Casio Music Australia within 30 days of purchase. Final claims close 11:59pm AEST on 30 September 2025. One claim per person. Terms and conditions apply.
Sebatron launch the 'Eye’, a Stereo Resonant Filter
SEBATRONAUDIO.COM
The Sebatron 'Eye' is a high-quality, standalone stereo resonant filter unit designed for both creative experimentation and practical use in a wide range of audio and musical applications. Housed in a dedicated enclosure,
it provides hands-on control over stereo filtering, making it an excellent tool for producers, mix engineers, and sound designers looking to explore sonic textures and movement within the stereo field.
With thoughtful and precise use, the 'Eye' is capable of producing a broad spectrum of stereo filtration effects from subtle spatial enhancements to more pronounced, rhythmic sweeps and resonant notches. These effects can bring shape, motion, and a unique creative flair to stereo musical mixes, auxiliary subgroups, or any signal chain where a sense of dynamic tone sculpting is desired.
New Zemaitis guitars arrive at Gladesville Guitar Factory!
GUITARFACTORY.NET
Zemaitis guitars represent one of the most distinctive and sought-after custom guitar brands in rock history, and a new shipment has landed at Gladesville Guitar Factory. World class and eye-catching designs in the Aces & Eights electric, the single-cut DFG24, the iconic Diamond Z and a triple-threat, triple humbucker incarnation of the DFG24, the Black P Diamond rounding out the range at Gladesville.
Distinctive metal plates were crafted by a shotgun engraver, creating the iconic Zemaitis aesthetic. These handcrafted instruments have gained legendary status among rock royalty, with notable players including Keith Richards, George Harrison and Marc Bolan.
Soulfly is a celebration of family and legacy. Whatever Max Cavalera hammers out on the bridges of his four-string guitars, it always sets souls free.
THEPHOENIX.AU
Underground icon, extreme metal trailblazer, third world warrior, and the leader of a dedicated worldwide tribe, Max Cavalera not only survives but thrives, blasting out riff after killer riff. The same voice, body, and spirit which launched SOULFLY in 1997 summons impossibly heavy noise to this day, throwing down slabs of monstrous music.
SOULFLY, NAILBOMB & SNOT Australia 2026
• Monday 26th January – BRISBANE, The Tivoli
• Tuesday 27th January – SYDNEY, The Enmore
• Friday 30th January – MELBOURNE, The Forum
Blues powerhouse Eric Gales will return to Australia this November for a full national tour.
GERRARDALLMANEVENTS.COM.AU
A tour that will deliver the utmost combination of fiery guitar mastery and soulstirring emotion. Five years sober and creatively reborn, Gales is riding high on the momentum of his masterful album Crown, produced by Joe Bonamassa and Josh Smith.
The Memphis born blues virtuoso has spent over 30 years and 18 albums reinvigorating the genre with his guitar excellence and bold songwriting. A child prodigy at just 16 years old with The Eric Gales Band, Eric has been praised by his peers and guitar legends the world over ever since.
Often hailed as the second coming of Jimi Hendrix, the Grammy Nominated Eric Gales has redefined blues playing with his rock swagger, searing guitar solos, heartfelt lyrics and a stage presence that absolutely commands your attention. He is boldly vulnerable, uncompromisingly political, unflinchingly confident and has absolutely earned his status as a true guitar hero.
Good things come to those who wait and Good Things Festival, Australia’s largest and favourite travelling music festival, is set to make its way up the East Coast once again in December 2025.
GOODTHINGSFESTIVAL.COM.AU
A stalwart highlight on the Australian musical calendar, today the festival is thrilled to reveal Good Things Festival dates and venues for 2025 in Melbourne, Sydney and Brisbane, with a new home locked in for Sydney this year. Opening on Friday 5 December at Flemington Racecourse in Melbourne, the party will then head to its new Sydney stomping ground at Sydney Showground on Saturday 6 December, before closing out on Sunday 7 December at the Brisbane Showgrounds.
Good Things Festival 2025 Dates & Venues:
• Friday 5 December – MELBOURNE, Flemington Racecourse
Saturday 6 December – SYDNEY, Sydney Showground
Sunday 7 December – BRISBANE, Brisbane Showgrounds
Tash Sultana has kicked off 2025 with undeniable force.
LIVENATION.COM.AU
Fresh off the release of their Return To The Roots EP, the multi-instrumentalist stormed through a 14-date U.S. tour, reigniting crowds across eight states with their trademark, highvoltage performance. That momentum continued with the recent announcement of their first Latin American headline tour since 2018, and now, Tash is finally coming home.
In thrilling news for Australian fans, Tash has locked in their first Australian headline shows in over six years, hitting Brisbane, Melbourne and Sydney this October. Local audiences will get their first taste of Return To The Roots live, alongside the fan favourites that helped shape a global phenomenon.
Lucinda Williams will bring her extraordinary life and music to the Sydney Opera House
FRONTIERTOURING.COM
One of the most vital voices in American songwriting, Lucinda Williams will bring her extraordinary life and music to the Sydney Opera House for an unmissable night of stories, songs and soul. Her first headline appearance in Australia in over a decade promises a richly layered performance that spans memoir and music, legacy and resilience. Part concert, part reading, part cinematic memoir, Don’t Tell Anybody The Secrets will see the singer pair live performance with visuals and spoken passages from her memoir.
Winston McCall and Joel Birch discuss Park Waves festival and fathering Australian heavy music
WORDS BY LEWIS NOKE EDWARDS
Parkway Drive have introduced their Park Waves festival. The announcements are a sight for sore eyes, and the events will be a circus for the senses, bringing together music, food and the fun of sideshows, performers and more to Perth, Adelaide, Geelong, Scoresby, Bendigo, Wollongong, Eastern Creek, Maitland, Toowoomba, Byron Bay and Sandstone Point throughout February and March 2026.
As the dust settles on the announcements a few weeks ago, we caught up with Parkway Drive’s frontman Winston McCall and The Amity Affliction’s Joel Birch.
I start with an obvious question, at least to me. Parkway Drive are one of the biggest bands on the planet, arguably able to play or even headline just about any festival in the world— why choose to book and organise their own from the ground up?
Winston smiles, finding it hard to accept the compliment.
“It’s a huge undertaking, but it’s something that we wanted to bring to places that don’t necessarily have access to something like that.” he begins.
Park Waves is notably a regional festival, skipping Eastern hotspots like Melbourne, Sydney and Brisbane, instead hosting the festival between the major cities.
“It’s just as much about taking the reins yourself as it is us being able to expand on what we’ve always been about: access to a Parkway show, or access to this kind of music.”
He continues, explaining that both Amity and Parkway are at the point where they struggle to do regional shows because not everywhere has venues that can facilitate them.
“So a festival is the way to go for being able to provide access for that. It also means we’re able to put on the show we want to put on.” he concludes.
In jest, I ask how Parkway’s experience having played a lot of festivals has set them up to organise their own.
“We’ve got really good people, it’s the kind of thing where we’re slightly out of our depth,” he laughs. “We’ve never done anything like this before, but we wouldn’t be doing it if we didn’t have a plan.”
“First time for everything!” he says, though
continues to say they have a tented setup to account for weather and improving sound. “We’re not just rocking up to a field and chucking down a stage on the back of a truck and saying ‘That’s good enough.’”
I turn to Joel and ask what it means to him to be included in a festival like this.
“It’s the first time [Parkway and Amity] have played together in Australia. Ever.” he explains. Despite having been mainstays of heavy music in Australia for 20 years, they've never landed on the same bill. “Just two ships in the night.” he says with a grin.
“The reason we went to America to do Youngbloods was ‘cause these guys went and did Killing With a Smile, the reason we went to America [to tour] was ‘cause they did, the reason we went to Europe was ‘cause they did, so it’s sort of a dog chasing its tail. We’ve followed [Parkway] all over the world, so it’s about being able to play in Australia and give it back to the people who’ve raised both bands up to the point we’re at.”
“It’s super special.” says Joel.
Technologically, things have also advanced to the point that a regional festival like this can
“It’s just as much about taking the reins yourself as it is us being able to expand on what we’ve always been about...”
happen with great sound. Improved wireless systems, amplifier emulators and better PA systems all contribute to being able to take something like this on the road, Winston and Joel both having experienced more than 20 years of performing on big stages.
“We’re like the dads of the scene.” says Winston to a laugh from Joel.
He’s referring to the addition of bands like Northlane and Alpha Wolf to the lineup, both younger bands that have followed in the footsteps of juggernauts like Amity and Parkway. While their influences might not show in an obvious way, they’ve carved their own path through the scene forged by Parkway Drive and The Amity Affliction.
“It makes me think about my age.” laughs Joel. “I think it’s awesome, and it’s almost entirely Australian (the lineup). And that’s a testament to how far the scene has come, from [Parkway] playing at the YAC (Youth Activities Centre) in Byron to us playing at the Town Hall in Gympie, now we’re gonna be taking a whole cadre of Australian artists around. That’s incredible.”
“It’s also because those bands have grown to the point where they are that big,” adds Winston. “It’s awesome to know that both bands are touchtones, whether it’s the genesis of those bands of their sound currently, or anything like that.”
Winston continues, explaining that he’s excited to live in a time where Australian bands are the drawcard at festivals, having come from a time that Australian bands “weren’t even second tier, they were like fifth tier in terms of size and quality and perspective.”
“Now, check out where we’re at. It’s big.”
We chat further about the logic behind a festival like this, the inclusivity of it all, even beyond the musical lineup, Park Waves having sideshows, with spectacles and more. Winston and Joel have come from a time and place, both being from small towns, where access to alternative music, at least the genres they loved, was limited. Access to all ages gigs was even more limited, and while the bands they loved would play, it’d be pubs or 18+ venues.
While they did find and build community, they’re pushing to be a part of something more, to build it up to be bigger than ever.
“Being able to provide that space for people is where it’s at, you lead by example.”
We chat further about the legacy that this first festival will leave, described by Joel as hopefully the ‘inaugural’ festival, hinting at hope for future festivals, and Winston himself shocked at the “amount of Australian bangers that will be played.”
Park Waves begins in Perth on Saturday 14th February 2026, moving across the southern border and up the East Coast to finish at Sandstone Point on Sunday March 15.
Tickets are available now at https://www.parkwavesfestival.com/
From the screen to the stage: Bernth and Charles Berthoud escape the internet
WORDS BY LEWIS NOKE EDWARDS
Escape The Internet is the crafty name of the project of Bernth, Charles Berthoud and Ola Englund, two guitarists in Bernth and Ola and a bass player in Charles, who’ve made their name as YouTube musicians, inspiring and educating players all over the planet for years now.
Initially escaping the internet into a European tour, two thirds of Escape The Internet will be arriving in Australia in October for three shows with proggy, metal wunderkinds The Omnific in tow.
We caught up with Bernth and Charles ahead of the tour and we start by chatting about how performing on stages for fans differs from their videos on YouTube.
“It’s a very interesting experience,” begins Charles. “Especially since— yeah we’ve both played in bands in the past— but it’s a little different when you go through a period of doing a lot of online stuff, you write a lot of music and you make a lot of videos that you put online, and then you’ve got to play all of those songs that you’ve never played live.”
With a chuckle, Charles also says he hopes that he can play them.
“Anytime you play a new song live, it’s a bit of a raw feeling!” he explains. Continuing to say that they did a few warm-up shows, the hammer finally dropping with how capable they really were.
The caveat was that, as YouTubers, they’re also entertainers, so they wanted to make sure they bring the humour and entertainment from their channels to the live shows as well.
“It’s not a case of just playing the songs one-by-one with nothing else inbetween.” he concludes.
Bernth’s story is a little different, having worked extensively as a session guitarist and very well versed in live performance.
“I started my YouTube channel much later,” he explains. “So I’ve been a session musician and a hired gun for much longer than I had the channel on YouTube.”
He explains further, that despite having had success as a session musician, he’s playing other people’s songs, exactly as instructed, and Escape The Internet allows him to express himself with his own music.
“It’s much, much more special.” he grins. “People actually know who we are, and you can tell people know the songs.”
Switching to focus on gear, Charles explains that the Australian tour follows a Chinese and Korean tour, all with his Neural DSP Quad Cortex.
“That’s obviously much easier when you’ve got flights involved.” he explains, though is quick to add that even at home and on YouTube he’s using the Cortex.
“It’s pretty great, I really love the sounds I can get out of the Quad Cortex, I usually have a pretty simple chain, one of the more modern amp models, some compression, some EQ, some reverb and then I add distortion for more metal songs. It’s nice to have it all in one package.”
This philosophy extended to their European tour, and while Charles used his Quad Cortex, Bernth used his Kemper.
“That’s still cutting-edge technology to me.” he jests. “People always remind me that it’s been around for quite a while now.”
He continues, explaining that he’s just got off a tour that had an Ableton operator and he didn’t have to worry about any patching or effect switching, establishing his dream to get Escape The Internet to that level of production.
“I like to use my modeller in a way that— I’m not just switching between effects, I’ve got six different amps per song, and actually switch between whole captures.” he says.
Both Bernth and Charles both use their modellers plugged straight into the PA, so there’s no amplification on stage. Tones aside, we shift to instruments.
“I have two basses [with me], I have a four and a six string.” begin Charles. “And Bernth designs the setlist in a way that I have to switch between them after pretty much every song.” he says with a wry smile.
Bernth laughs.
“Just to mess with me.” Charles adds.
“When I went on my very first solo tour, which was the big experiment to see if the people that consume the videos online actually come out, I made the mistake of [touring] with almost ten guitars.” explains Bernth. “Like an 8-string, 7-string, different 6-string guitars and more crazy, experimental guitars.”
“And I didn’t have a guitar tech,” he’s quick to add. “I’m never doing that again, it was a true nightmare.”
Bernth continues, explaining that he went to another extreme for the last tour for Escape The Internet, where he arranged everything for one guitar, getting hooked on that idea. While it’s more demanding on the instrument, it removes the variable of fumbling on a dark stage during a guitar changeover.
Cheekily, I ask about future plans for Escape The Internet.
The guys laugh before Charles dives in.
“Yeah, we want to keep doing this, like this is a band but it’s also a concept where we want to help other online musicians escape the internet, basically.” he says. “So we’re aiming to do this with a rotating lineup.”
“We want to get this to a bigger and bigger production so we can get some pyro involved. That’s really the main goal.”
You can help Escape the Internet reach this goal by attending their shows in Brisbane at The Tivoli on Friday October 31, at Northcote Theatre in Melbourne on Saturday November 1 and The Metro, Sydney on Sunday November 2. Tickets available now from https://thephoenix.au/
Convenience Store talk about separating the song and the recording
Convenience Store are doing it themselves, and while they concede their path to finishing music might take a few twists and turns, having the freedom to take their time and explore sounds themselves is the way to go.
Albeit with a workflow defined by trial and error, their single “Tabis (Walk Me Through The Night)” combines crunchy, vintage sounding drums with guitars and vocals settling themselves into an atmospheric space, creating a unique atmosphere that precedes their debut album Tabis that’s out in September.
“We’ve always done it this way,” they explain. “Like since we started doing [the band], it feels more creatively fulfilling.” says Nick.
The guys explain they’ve been recording music longer than they’ve been playing live. They acknowledge they wouldn’t know how to do a “professional” session.
“We’ve got our own idiosyncratic workflow, we can just keep re-doing things, there’s no real cost, ‘cause it’s all digital.” he continues.
“It’s all so linked to the way we make music. Going to a studio, you’re tracking a song that you’ve played live heaps and you know the song, where we’re kinda working it out as we record it.” adds Jack.
Nick agrees, adding “We’re not so interested in capturing performance as we are texture, and I guess you need control of production in order to do that.”
In this sense, Convenience Store are producing as they go, adding parts and removing them until it feels right.
“It’s very back and forth,” explains Jack.
“Like we’ll have the song down, and think ‘Oh, we need something else’, and then that ‘something else’ will become a fundamental part of what that song is.”
“Not really like producing and tracking and then sending off to mix— we’re doing the mix and integrating an element into the mix at the eleventh hour.” Jack laughs.
In this sense, Jack and Nick roll into the recordings with an open mind, though a lot of the time there’s an expectation in their head. The results being right or wrong, or nailing the sound or not, is where things differ and they’ll either go back to the drawing board or pursue this newfound sound or idea.
The guys cite Frank Ocean’s Blonde here, explaining that apparently Frank would record many versions of a track in the pursuit of finding the best version. Sometimes exploring and eliminating the wrong ideas is as important as finding the right one.
“It’s definitely my approach,” begins Jack. “Is going into things and seeing what happens. Like there’s some sense in your head of what you’re trying to achieve, and this is what happens when you record your own stuff, is you don’t have the skills to execute something exactly as you’ve planned it.” he says with a smile.
The addition of an outside engineer hinders Convenience Store’s ability to find
happy accidents, the irony of a “quote, unquote” professional is that they’re there to nail whatever you want to achieve.
Because of all this, the band mixes as they go, pushing sounds to their limit to make sure it’s either the sound they’re after, or the happy accident has been a success. They’re shaping and refining, and finding space for every element that comes along as it happens.
“Our mixing procedures are probably our most technically deficient part of the workflow,” jest Nick. “We’ll be mixing a song, and we’ll realise it’s not going to be saved by the mix. So we’ll have to go back and — maybe arrangement parts aren’t working, or it’s the opposite where we have an idea that shouldn’t work, and you can mix it in a way that isn’t conventional.”
“To make it work.” adds Jack.
“So the song will inevitably sound more novel and fresh.” concludes Nick.
Jack continues, adding that they’ll work towards a preliminary, rough mix, so they can see how it all fits together in the pursuit of finding what the song is lacking or missing.
This ability to have an overview of the song, rather than diving into expensive days at a recording studio, allows Convenience Store the freedom to explore their songs, admitting that their first instinct isn’t always right.
“We have this naivety where we can keep tinkering, keep trying different things. So it becomes fully formed in an organic way, rather than starting with a plan.”
All of this aside, Nick and Jack also acknowledge that they sometimes need a deadline for fear of adjusting or tinkering endlessly. To remedy this, the guys will send the songs to Convenience Store’s other members, primarily live members, who aren’t as involved in the writing and producing process for an unbiased, third-party opinion.
Moving into the live element of the band, Nick and Jack admit that there’s no thought of the live show while they’re producing, adding layers and mixing themselves into new sonic worlds.
“It doesn’t make sense to play the song the same way at a pub as you’d play it at The Forum. Or the same way you’d hear it on streaming. So we’re pretty fluid these days in how we’re presenting a song depending on the space it’s going to be heard in.”
“Tabis (Walk Me Through The Night)” is out now, with the full length Tabis available in September.
CONVENIENCE STORE TOUR DATES
Friday, 19 September - Bergy Bandroom, Melbourne Sat 27 September - Young St Tavern, Frankston Friday, 3 October - The Lansdowne, Sydney* supporting Safford Saturday, 4 October - Dicey Rileys, Wollongong Sunday, 12 October - Junk Bar, Brisbane https://www.constore.net/
WORDS BY LEWIS NOKE EDWARDS
Mincy brings new meaning to Do-It-Yourself
WORDS BY LEWIS NOKE EDWARDS
Mincy is doing it all, being both a musician and producer, as well as running her own label, day parties and now leading workshops for female and gender non conforming musicians, allowing them a leg up in the industry.
Appearing at BIGSOUND in September, and a staunch Ableton user, we spoke to her about her creative workflow and motivation behind doing as much as she does!
Mincy, thanks for taking the time! You’re a musician of course, while also running a record label, Extra Spicy, and Dayshift day parties. What motivates you to do it all yourself?
I’ve always been a big believer in creating your own opportunities. A lot of the time when it came to creating things like creating my label or some of the events I’ve run, those sorts of things didn’t exist when I started them here in Sydney. I've always felt super rewarded by welcoming other artists into the communities I build and helping them grow too which fuels a lot of the motivation.
Can you speak a bit about your beginnings in music?
If we’re going to back to the real beginning, I played clarinet in the school band way back in primary school! But I unfortunately didn’t stick with it so a lot of that music theory knowledge got lost along the way. I have been fortunate enough though to come from a very musically passionate familyparticularly my dad who has shaped a lot of my earlier listening with early electronic, rock and metal. That morphed pretty quickly into an obsession with dance music, and I followed that passion over to the UK where I spent many many years hitting every dance floor I could to soak it up. I came back from there and was ready to hit the ground running in Sydney.
Can you walk us through how a song starts for you, such as your new single “Bad Girl”?
I’m pretty low maintenance when it comes to how I create music - I work entirely on Ableton from my laptop with a pair of headphones - no MIDI controllers and no hardware. I don’t generally go in with much of a plan and just let it happen organically, Generally that means starting with drums and working my way out from there. With “Bad Girl” I went in with the intention to make something a little less club focused than what I would usually output, which worked! But sometimes I do end up making the exact opposite of what I set out to do.
How do you find people to collaborate with on your songs?
Most of the time the collaboration process starts online - I tend to find most of the artists I look to work with while scrolling around. Other times people have reached out, or have been recommended to me. A lot of the producers I work with are friends I’ve DJ’d with or hung around with long enough to know we are on the same wavelength.
What does it mean to you to be running beginner Ableton workshops for female and gender non conforming musicians and artists?
I've spent a lot of my career shooting online about trying to get more women into male dominated spaces in the music industry, whether that be DJing, producing or event promoting. After a while there’s only so much you can yap on about before you need to really do something to push forward positive change - which is where the workshop idea came from. I’m really looking forward to running these, it feels like we’ll be bringing genuine change to the scene, and the response has been insane already. It’s feeling like it might be the start of something much bigger which is really exciting, and having Ableton backing it has been a huge blessing to allow it to be accessible to everyone.
You’re showcasing at Bigsound in September, what can attendees expect from your set?
I’m looking forward to bringing loads of new music I’ve been working on behind the scenes! Lots of different sounds I’ve been playing with, some new collaborations, and really looking forward to being a part of the panel there where we will be discussing building communities within the music scene.
Angel Vivaldi, his new Charvel NOVA-7, and speaking the language of the muses
WORDS BY LEWIS NOKE EDWARDS
With a name like Angel Vivaldi, you’d be destined for greatness, and that’s exactly where he’s landed.
With a slew of virtuosic albums to his name, both as artist and a producer, it’s no wonder that a company like Charvel has taken notice and honoured him with an equally impressive range of signature guitars. The latest collaboration sees the NOVA-7 brought to life, putting the guitar’s Flame Maple top on show, and boasting gold hardware, a recessed Floyd Rose and a pair of DiMarzio humbuckers.
We had the chance to chat to Angel about his new model, and I ask about how each succession of artist model sits in the larger range.
“Anything I do in life, I’m trying to make it better.” he explains. “Not in the pursuit of perfection, but to leave things better than when I found them.”
“So I’m already two models ahead [in my head],” he says with a laugh.
“With guitar tone, we know tone is in the fingers, it’s how the person speaks behind the instrument. But you also have to have an awareness of what the tone sounds like, right? What does your tone actually sound like?”
Angel relates this back to the ‘journey’ of finding gear, looking for partners and team members in gear that compliment the sound of your hands behind the playing. He sees instruments as a companion, to hide your flaws and exaggerate the good parts of what you like.
“I think it’s an important journey to go on, as time consuming and expensive as it can be!” he says with a grin.
In this sense, Angel is trying to pursue his own voice rather than imitate the players and artists that’ve come before him, albeit having influenced him. I ask how his needs and preferences for instruments change over time.
“The main thing is a sense of versatility, only because my discography is quite dense with genres, especially now.” he explains. “So because I genre hop a lot, there’s certain things that allow me to do that with a bit more ease.” he muses.
“Not that [his instruments] are vastly different,
we’re still talking 24 frets and a comfortable neck. Six or seven strings, doesn’t really matter to me, although I lean more toward a six these days.” he laughs.
Angel continues, explaining the small and subtle changes that happen, and he cites the new NOVA-7 versus the NOVA-6, explaining the neck shape is vastly different because of the genres that he uses the six-string for, versus the seven-string.
“It’s subtle changes off of a mould, over time.”
I ask if he’s is pursuing his perfect instrument: a number one, a mainstay.
“The interesting thing is, I’m going to be doing the John Petrucci Camp. There’s songs I’m going to be showcasing and talking about, and I’m only bringing one, maybe two guitars. If I only bought one, I have no issue doing the whole set on the new NOVA-7. It can handle anything that I give it, truly.”
“But I think in comparison to a six-string, seven is just a little bit more work, y’know?” he says with a chuckle. “But the new model is so beautiful and it makes me just want to play it!”
We chat for a moment about how new stuff can inspire new sounds, albeit being a very expensive way to maintain motivation and remain inspired.
“It really does inspire. I did this concept record called Synapse in 2017. If you’re an artist, and you’re very self aware and you practice a level of mindfulness, you will be able to pinpoint exactly what inspires you the most.”
Angel explains he’s moved a lot in his life, from house to house, and the new spaces and environments would inspire him.
“There’s something about that newness, that novelty, making it your own, that really tends to inspire a lot of people. So for that record, I assigned a colour to each of the eight songs.”
Angel explains that for the song “Adrenaline”, which was red, he painted the studio red, also adding that this fed into his interest in interior
decorating and fashion, so this environment really inspired him.
“It was the most daunting thing— I will never do that again man!” he says. “I’m trying to write, I’m also filming the documentary, so it’s primer, paint, redecorate, write, force yourself to finish it. Next one. Orange, yellow, blue, every colour it was hell on Earth. But when we get something new, these things invigorate the soul.”
On his newest EP, Away with Words: Part 2, Angel used a six-string as a limitation, acknowledging that the extended range of a seven or eight string might enable him to play low-tuned metal riffs, something he wanted to steer away from on this release, instead bringing funk and blues to his catalogue.
Pushing this further, Angel discusses allowing a muse to visit you, or making space for inspiration to arrive.
“That’s what music is, it’s the language of the muses.” he says. In this sense, while music is a huge part of his life, he has other interests and parts of his life that create stories that inspire music. He’s very adept at putting himself in a position to be visited by these muses.
“You don’t know when she’s coming,” he says, referring to the muse. “If it takes me 663 sessions of me sitting here and working on this song, every time I sit here I’m one step closer to getting it done.”
“And the more often I do [it], the more chance I have of meeting her when she’s here.” he explains. “So it’s not to put pressure on people or yourself, it’s more an awareness of a conscious decision to go visit your parents, or walk your dog, or go on vacation.”
Angel concludes that it’s important to him to make an impression, to make people feel good about themselves, which he finds is reciprocated.
“Assuming you’re not meeting an egotistical musician from LA.” he chuckles.
SMALL NEVER SOUNDED SO BIG.
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REDD. and sleepazoid chat all things Australian music, dream lineups and this year’s BIGSOUND showcase
WORDS BY JULIETTE SALOM
In the lead up to their performances at BIGSOUND this September 2 to 5, Naarm up-and-comers REDD. and sleepazoid catch up for a chat.
If you’ve ever wanted to eavesdrop on a conversation between two of the fastest rising names in the Naarm music scene, you’re in luck. Josef Pabis and George Inglis from alt-rock quintet sleepazoid sit down with alt-pop pop musician REDD. ahead of their showcases at this year’s BIGSOUND.
The trio of musos represent the kind of unstoppable talent that will be infiltrating the sound waves across Fortitude Valley at the music conference and showcase this September 2 to 5. Make sure to catch sleepazoid and REDD. at BIGSOUND – but, for now, you can jump into their invigorating conversation below.
JOSEF: You have one of the most cohesive and interesting visual worlds of any artist in Australia right now. How do you go about crafting your visual identity? Are there any key collaborators that you work with or is it entirely DIY?
REDD.: Dang. That’s the biggest compliment ever. I still feel like my world’s evolving. I think, if anything, I’m always trying to be really true to myself. So if it’s coming across as cohesive, I’m glad because my brain feels really scattered all the time, so it’s really cool when I can be directional.
I think on this first project, a lot of it came from myself. I grew up in that acting and movie world, so my brain is very visual. The two main people that I collaborated with [on RAUNCH] were Cole [Surrey]
and Michelle [Pitiris]. Cole’s just like a homie –we grew up in the scene together. He’s super talented and I think just going to your friends and collaborating with them always keeps it really fresh and also really personal.
GEORGE: Social media presence is such a big part of the music industry these days, with many artists feeling the push from labels and management to be constantly posting. You seem to strike a really good balance of it, using it to connect with your fans in a way that feels natural and authentic. Do you have any advice on doing that?
REDD.: I think it’s such a funny dance. Being an internet-era artist – I feel like we can all agree – it’s so weird because what you put out is typically very controlled, [even] when there’s a lot of panic going on behind the scenes. I think that you’ve just gotta do what’s true to yourself and don’t make content that you’re not interested in and that you don’t want to consume.
I’m really inspired by my peers as to what to make and what is really cool. I think making stuff that’s authentic and direct will also help connect with the audience that you want to connect with. Social media is one of those things that it’s freaking hard – but you’ve just got to do it.
I always think about Chappell Roan and looking back at her old TikToks and, Tyler [the
Creator] and stuff. They’re all artists and people who just created a lot of shit. Not shit as in it’s bad – just a lot of stuff.
GEORGE: A lot more than just their music, than just the craft. They created a whole world.
REDD.: Yeah. And I think that’s really important. People nowadays more than anything want to latch on to a personality and you as an individual. There’s so many people who make good music. I think people want to connect with someone on a deeper level than that nowadays.
JOSEF: You recently put out your debut mixtape, RAUNCH. What is your favourite song and why?
REDD.: You guys are giving me all the hard questions. It changes between these two every day – it’s either Bad Days or Two Years. Bad Days is just like my little baby. I played almost every instrument – or, every line on that song – which just feels really cool. I’m really proud of myself for doing that. I suck at playing drums and I suck at playing guitar and bass, so it’s really cool to be able to make a song that I played.
GEORGE: On that record, do you have any notable inspirations, like sonic influences? And whereabouts would you say that applies?
REDD.: I think it’s really interesting because the music that I was consuming was nothing like what I was putting out. And I think that’s really true to me and myself. I think I love taking the ethos of different artists and what they do and what they create and applying that to my own world. Tyler, the Creator was probably – when I was making this project – my biggest inspiration in terms of just being myself.
I was very scared to make something that was bad. I was like, oh, what if it kind of sucks? Or whatever. And I was like, I gotta let go of that to make something for myself and just have fun doing it – which is what [Tyler] did. That was really inspiring. I was just like, I want to do what I want to do.
JOSEF: Love that. All right, now – dream show line up pick. Three artists – can be any artist – but they have to play in a local Melbourne venue. So, where is this happening and who’s playing?
REDD.: Okay. I’m tossing up between Max Watts and Forum – I’m gonna say Max Watts, just because I had my favourite live experience ever there. I’m gonna put myself in the centre of this universe and say I’m the headliner. So, I want three people opening for me. I’m gonna say – not that this is in any sort of way realistic – but I would have Olivia Rodrigo, I would have Teezo Touchdown, and I would have Mk.gee. I want to see them all live so bad.
GEORGE: Who are some of your favourite Australian emerging artists?
REDD.: I love this question just because I love my friends and I love talking about my friends. My favourite ones are Zafty – Zafty and Kayps are the two people in my mind who are keeping Australian rap interesting and exciting and really youthful – and I’m gonna say Lotte Gallagher, because of her talent. Oh, I’m gonna shout out my New Zealand friends – Borderline and Bakers Eddy – because they’re both so good.
REDD.: OK, so, if you could open for any artist in the whole world who would it be and why?
JOSEF: Wolf Alice or Fontaines D.C. – either one would be a dream. What about you, George?
GEORGE: Oh look, honestly, right now, Mamalarky – I’m really into them and they share some members with Faye [Webster], who we played with recently. But realistically we’ve been talking about Wolf Alice and Fontaines.
REDD.: How was opening for Faye?
JOSEF: Crazy. It was so cool – just mind blowing. I don’t know if it’s sunk in yet, honestly.
GEORGE: What was the biggest moment for you, Joe?
JOSEF: Just walking out on stage every night because that’s about all that I can remember – I feel like I blacked out for the rest of the sets because it was just insane.
GEORGE: I think the biggest realization of, like, “damn, this is huge”, was hearing the sound level of all the fans screaming at certain points throughout the set every night. I was like, wow, these people having a great time.
REDD.: It was also the Forum – that’s an iconic venue.
JOSEF: I think for everyone in the band it was our dream venue.
We’ve been talking about it like, “one day, maybe we’ll play the Forum”. And we got to do it.
REDD.: That’s so cool. Who are you most excited to see if you have the time at BIGSOUND?
JOSEF: Artists from WA, I think. Ullah – I saw her on TikTok. And then dogworld. And, well, have you heard of this artist called REDD.? I don’t know if you would know them.
REDD.: (Laughing) Oh, that’s a shit name, bro. Who the fuck makes their name a colour.
JOSEF: I loved watching you at the Bakers Eddy set. I’d love to catch you again if we get the time.
REDD.: What’s it like being an artist in the modern internet era, especially as a band? There’s a lot more focus on individuals, I find, and it’s a very different dynamic with a band.
JOSEF: I think the coolest thing about it is it’s just exciting. You have this opportunity to reach so many more people than what you would ever have reached before, unless you were a massive band and you were just touring the world. But you have this opportunity to really connect with all of these different people and share your music with them.
The toughest part, I guess, with being a band is like you said – there’s a lot of focus on individuals on social media. So to convey each – we’ve got five people in our band – each member’s personality, and do it in a way that’s authentic and true to each of us is very difficult. But, again,I guess we just try to be ourselves as much as we can and really connect with people
GEORGE: I’d say at this point in time, artists have the most control over what their brand and whole ethos is. But at the same time, we’re also facing the most pressure to keep up the momentum and keep up with the whole streaming model, which is rapidly changing. You’ve really got to be on your feet.
REDD.: Yeah, it’s freaking hard, dude. I swear, every artist nowadays is like a slash-influencer. When I signed up to be an artist, I didn’t expect to be an influencer as well. I was not ready for that.
This one’s quite a general question, but what’s one of your favourite things about the Australian music scene?
JOSEF: I love that sense of community that you have. Kind of like what you were talking about when you were talking about your favourite emerging acts and shouting out your friends. I think in each little niche of sound, you have hundreds of bands and hundreds of artists that you can connect with and play a show together or message on socials or whatever – these other artists who are all trying to do the same thing that you’re doing and [you can] bond over that. It’s very friendly, very community-driven.
GEORGE: Community is very strong, especially here in Melbourne. I’d say another great thing about it is the diversity and quality of the music in each of these little pockets of genre, style and all that. It’s kind of mind boggling sometimes just how much music there is coming out of just one country.
REDD.: Yeah, dude, it’s really cool. It’s really, really exciting. And with events like BIGSOUND where all these acts are coming together – it’s really crazy to be in such a talent pool, especially because the Australian scene is getting so much bigger.
GEORGE: You really notice it when, say, if you ever look through a little gig guide or something – like in Beat Magazine – especially in Melbourne, any night of the week you can just go down to a local bar and there might be some mind blowing thing happening in front of five people. Or down at the Forum. There’s all [different] levels to it.
REDD.: It’s so cool.
For more information and tickets to see REDD. and sleepazoid at BIGSOUND, head to https://www.bigsound. org.au/
This article was made in partnership with BIGSOUND.
In Focus:
Phil Jones Bass Cabinets
WORDS BY ROB GEE
If you know, you know, to use the parlance of our times. And those who know Phil Jones Bass are those who know quality gear in bass amplification and speaker cabinets. It’s been some time now that these products have been available in Australia, and every year more and more bass players turn to the Phil Jones label to find quality, tone and cost efficiency in a world that seems driven by mass production. After more than two decades, Phil Jones Bass continues to represent quality, a small business attitude in a big business game.
Phil Jones, the man behind the name, began his career in speaker manufacturing long before Phil Jones Bass came about. In 1980 he worked as production engineer creating speakers for cinema and home audio with Vitavox Loudspeaker Company. From there, Phil has had a widely successful career in both the UK and USA working for a range of companies, and founding several too. In 1998 he founded American Acoustic Development, which would later go on to be the parent company for the current Phil Jones Bass, which was established in 2002. From here, a focus on quality compact bass amplification and speaker cabinets grew to what we know today. What is it that makes a good bass cabinet, the key to the reproduction of the sound itself? It’s the drivers. And Phil Jones is in his fifth decade of designing speaker cones and drivers, so he knows what needs to go into a great bass cab. With their own facility in China,
every component is manufactured in-house, so the quality can be maintained the entire way through the product development and subsequent manufacturing process. This enables the team at Phil Jones Bass to deliver consistent quality, to a very focused goal, without the price tag that artisanal manufacturers often attract. The result is what we find today in a range of bass cabinets that deliver power and tone, yet do not ruin your back, nor your bank balance.
Phil Jones has said that “a good speaker is one that is designed for the application it is going to be used for.” It’s in that one sentence alone that makes you understand where he is coming from in his cabinet designs. No generic parts are employed, as mentioned previously in the manufacturing process. Phil’s history of speaker design allows him to concentrate on a product that results in the sound he wants, rather than relying on what parts are currently available.
it is ultimately more compact and portable than any other you’re likely to find.
The same goes with the CAB-27, the dual 7” configuration that is matched instead with a 3” tweeter. At not much more than 12” high and 12” in depth, this is the little box that could! A 200-watt RMS speaker cabinet that really focuses in on a sweet spot to give your bass more articulation and definition. And what’s more, it weighs barely 13kg: That’s less than some bass guitars I have held over the years!
Of course, it goes beyond the speaker itself. The cabinets employed by PJB have been carefully sculpted to work with the speaker cones. They are precisely tuned for the purpose at hand, working with the various combinations of 2”,3”, and 7” drivers. Yet, what is so incredible is the huge amount of low frequency resonance they create, without unwanted chuffing or nasty vibrations. The minimal movement of the speaker cones in these cabinets delivers a sound that is punchy and forceful, without sounding forced.
Take for instance, the CAB47, which can be likened to the fundamental bass cabinet in any rig, though it’s a little different to what has been seen as the ‘norm’ for many others. Phil Jones offers up four 7” woofers, matched with the 2” tweeter. Yes, you read that correctly, it’s a non-conventional set of specifications, and one that ensures the team a PJB can achieve the tone they are looking for in the size and weight this cabinet offers. The entire cabinet looks a little odd at first glance, and that’s because so many of us are accustomed to a certain standard, and expectations, of what a bass cabinet should be. Here, the overall dimensions have you challenging your eyes, until you realise, you’re not dealing with just any old product. When you plug it in and listen, you can begin to understand the logic behind this somewhat unorthodox configuration. It sounds sweet, articulate, and still punchy with plenty of bottom end, as any bass cabinet should! And yet
Let’s face it, if you’re looking at a Phil Jones Bass speaker cabinet, you’re not after just another 4x10. You’re the bass player who wants something special. And with some truly unique configurations, like the unlikely 9x5” or 1x7” combinations, all PJB offerings are truly special. Of course, the CAB-47 and CAB-27 are the most conventional in a non-conventional array of speaker cabinets. There’s something for every bass player in the range, except for back pains!
Of course, the real proof is in the playing. You need to hear these cabinets in operation, and then you’ll understand what all the fuss is about. It’s not just a gimmick, rather real audio pleasure for those aligned with the lower octaves. Get into a Phil Jones Bass dealer today and test drive one for yourself. And if you can’t decide which one is right for you, at least it will be easy enough to carry both out to your car at the same time!
Pseudo balancing in the recording studio
WORDS BY CHRIS BROWNBILL
Balanced Audio
like line drivers, transformers or op-amp stages. Not all equipment, especially the old gas cooker vintage blues lawyer collectible types that we know and love, include that. The reason would be short cable presumptions, if gear is in the same rack or on a desk with patch cables shorter than a meter, full noise rejection might not be necessary. Pseudo balancing gives a bit of extra protection without the extra circuitry.
You can’t always tell just by looking at a cable or jack as they all wear the same face. But sometimes the manual will provide, slipping in a line like “impedance-balanced” or “pseudobalanced” which is usually code for not quite the real thing.
Pop the lid on the unit and the story becomes clearer. If that XLR output only has two wires soldered — signal and ground — then it’s not truly balanced, just borrowing the format. And if Pin 3 is either grounded or left floating, you can be sure there’s no inverted signal riding along. It’s a one-way message dressed like a two-way conversation.
The thing is that a lot of gear does this, even expensive compressors, EQs and synths. I’ve opened up units from top-shelf manufacturers that use this exact approach.
may ever understand!
In the world of recording, there's so much more to learn, and more mistakes to make, than we
Recently I was consulting on a recording studio install, and in the midst of planning the cable situation the question came up: “What’s the actual difference between unbalanced and pseudo-balanced audio?”
For producers and home studio owners that are embarking on an install, my knee jerk reaction is to recommend the Yamaha Sound Reinforcement Handbook as it’s our closest analog to an audio bible. But as times change, audio becomes people’s nocturnal side hustle and so I thought I would take us back to audio school without burying us in dense electronics theory.
First: What’s Unbalanced?
Unbalanced audio is the most basic type of analog connection. A standard guitar cable (TS), RCA cable, or the line outputs on your synth or audio interface are probably unbalanced. An unbalanced cable carries:
One wire for the signal
• One wire for the ground (also acting as shield)
But here’s the problem: unbalanced cables are vulnerable to noise, especially over long runs. If your cable is 5+ meters long, or it’s running near power bricks or lighting gear, you might start hearing hum, buzz, or radio noise sneaking into the signal. It’s a clean signal until it isn’t.
Balanced audio solves that noise problem by adding a second copy of the signal but inverted. That means:
• One wire carries the original signal (hot)
• One wire carries the same signal, flipped upside down (cold)
• One ground wire acts as a shield
When this signal gets to your audio interface or preamp, the cold signal is flipped back into phase and combined with the hot signal. Because both wires picked up the same noise during the trip, but now one is inverted, the noise cancels itself out. It’s called common-mode rejection, and it’s why balanced audio is the go-to for professional studios, stage rigs and long cable runs.
Pseudo Balancing
Here’s where things can get weird.
Pseudo-balanced is like a halfway point. It uses a three-pin connector (like an XLR or TRS), and it might look like a balanced signal, but there’s no inverted audio copy being sent. Instead:
• The signal goes down one wire
• The second wire is either tied to ground or matched in impedance
• The ground/shield wraps around both
So when you plug this into gear with balanced inputs, it still receives the signal and can reject some noise... not all, but enough to make it superior in contention to an unbalanced connection.
So why don’t manufacturers just properly balance things? Cost and simplicity. True balanced outputs need some extra components
How much this affects depends on your recording studio set up, if you have long runs of cable, noisy power and/or a grounding issue somewhere, true balanced connections are of course imperative. If everything is local then pseudo balancing can suffice. If you are troubleshooting hum or hiss, switching from unbalanced to pseudo balanced might help but it’s not exactly magic. Only a transformer, DI box or ground lift is routinely preferable.
To anyone building a studio, unbalanced is fine for short, clean runs. Pseudo-balanced is a way of using balanced cables and connectors to get some of the benefits, even when the gear isn’t truly balanced. It’s a hack, but a smart one. Just don’t rely on it to solve major noise problems. And if you’re wiring up your own cables and going from unbalanced to XLR, tie Pin 3 to ground with a resistor (or directly) — this makes a pseudobalanced connection that works better with high end equipment.
It’s not perfect, but it’s better than nothing. And sometimes, that’s exactly the level of compromise that makes sense in a home recording studio.
Top 10 coolest Pawn Shop electric guitars
Holy grails do exist, and they can be found in opportunity shops, pawn shops and garages in the possession of long-retired musicians or their family.
A notable phenomenon in the world of electric guitars is that cheap vintage instruments, often student models or Japanese imitations of more expensive brands, have become quite sought after on the secondhand market. They’re famous for their quirky appearance, lofi sound and unique electronics. Electric guitars such as this are often referred to as “Pawnshop Guitars” and for many years now have been embraced by indie and garage bands the world over. They may not play particularly well or be made of the finest tonewoods, but they sure are unique and iconic. Here’s ten of the coolest.
Harmony H78
Between 1945 and 1975, the Chicago based Harmony brand produced around ten million guitars, focusing on student models sold through JC Penney. The Harmony H78 is a fully hollow guitar loaded with three DeArmond Gold Foil pickups. It has a killer lofi 60s garage tone and as famously demonstrated by Dan Auerbach of the Black Keys, and sounds really quite good through a fuzz pedal.
Danelectro Shorthorn
The Danelectro Shorthorn is best known as the guitar Jimmy Page used for DADGAD tuning, most notably on the song “Kashmir”. Although intended as a cheap student guitar, the Shorthorn, now available as the 59DC, is now famous for its association with both Page and Syd Barret of Pink Floyd. A cheaply constructed, hollow bodied
guitar constructed with Masonite and Poplar, the Shorthorn has a distinct twangy sound not unlike a Telecaster. Known for its very distinctive look, the Shorthorn’s double-cutaway shape, lipstick tube pickups, ‘Coke bottle’ headstock and striking black and white colour scheme are all part of the charm.
Mosrite Ventures Model
Mosrite was founded in 1956 in Bakersfield, California by Semie Moseley. Known for their innovative design, thin necks and hot pickups, Mosrites were very solid guitars. The Ventures model was designed specifically for the highly influential surf rock band The Ventures and was considered the flagship guitar for the brand. It has a cool asymmetrical double cutaway shape, two P90 pickups and a Bigsby vibrato arm, the perfect axe for surf music and now one of the quintessential pawn shop guitars.
Kay K6533 Value Leader
Kay offered up their first electric guitar in 1936 but are best known for their large production of student-grade, budget instruments in the 1960s. The Kay K6533 Value Leader is a low-end, hollowbody archtop with a single DeArmond pickup in the neck position. The K6533 was made famous in the 2000s by Jack White who used the guitar on his signature song “Seven Nation Army”.
Yamaha Flying Samurai
The Flying Samurai was an original Yamaha shape that debuted in 1967, designed to appeal to surf guitarists, of which there were many in Japan at that time. With long, very 60s looking horns, weird funky curves and a bright twangy tone, the Samurai has ‘Surf Rock’ written all over it. With a spanky, Strat-like single coil in the neck and either another in the bridge or two working together in the bridge as a humbucker, the Samurai has plenty of versatile tones on tap. Recently brought back into the spotlight by Stu MacKenzie of King Gizzard
and the Lizard Wizard, the Flying Samurai is having a pawn shop resurgence that is well-deserved.
Guild S-200 Thunderbird
Perhaps the coolest guitar that Guild ever produced was the highly idiosyncratic Thunderbird. A solid bodied, offset guitar with looks to kill, the Thunderbird debuted in 1964 and is beloved ’til this day. Looking a little like a Jazzmaster but far more menacing, the Thunderbird has an array of knobs and switches that are confusing to say the least, but useful in the hands of an expert. Featuring two mini humbuckers that sound absolutely fantastic, the Thunderbird plays great and even has a built-in kickstand which is pretty hilarious but also charming. An original Thunderbird can go for a pretty penny these days but luckily there are now also reissues on offer!
Supro Dual-Tone
The Dual Tone is a funky singlecut Les Paul ripoff manufactured by Valco in the late 50s. These early electric guitars were made of a wood composite before the brand switched to fibreglass, but either way it’s a fine looking instrument. Despite looking like humbuckers, the pickups in the Dual-Tone are actually single coils, though they’re hot enough to burn your house down. Both Link Wray and David Bowie himself rocked a Dual-Tone and that’s really all you need to know, these guitars are just dripping with character and sound great.
Teisco Sharkfin
Teiscos are basically the epitome of what we think of when we hear ‘pawnshop guitar’. With their quirky body shapes, weird and wonderful pickups and low price tags, Tiescos just have that off-kilter garage rock feel to them that we all love. The Sharkfin is pure 60s surf, with a spiky offset body, anywhere between two and four single coil pickups and a big old Bigsby vibrato. Japanese craftsmanship, even when it comes to low-end guitars, really does stand the test of time.
Eco Rokes
The Eco Rokes is a bit of a deep cut but it’s my favourite so it gets a mention. An Italian-made beauty designed for the Italian psychedelic band The Rokes, this guitar has an insanely cool flying wedge body shape, a solitary single coil DeArmond pickup and a Bigsby vibrato.
Also available in 12 string and bass versions, the Rokes is a rare beast so an original now comes with a pretty hefty price tag. Luckily, this space age wonder was reissued in the 2000s with the additional option of a humbucking pickup to boot.
Airline JB Hutto Res-O-Glass
This iconic hunk of red fibreglass may as well be called the Jack White guitar. As synonymous with the White Stripes as the man himself, these electric guitars are is notoriously hard to play and keep in tune but is undeniably one of the coolest looking guitars ever made. Loaded with two single coil pickups that absolutely scream, this is a classic example of a cheaply made guitar that is now very highly sought after on the second hand market due to its association with a great player.
WORDS BY CHRISTOPHER HOCKEY
KREATE
8
The KRK KREATE SERIES monitors bring amazing value and legendary KRK studio monitoring performance to musicians, engineers, producers, and content creators. Available in three sizes, these best-in-class two-way studio monitors are designed speci cally for the diverse needs of creative professionals. Designed as the gateway into the KRK family, Kreate monitors are value-packed with pro-grade components and seamless connectivity. KREATE 3 KREATE 5
KREATE
POWERED NEARFIELD STUDIO MONITOR
A tour through Ordio Productions
WORDS BY LEWIS NOKE EDWARDS
Ben Wever has built one of the most impressive pro audio spaces in Australia, possibly even the world.
He has four studios filled to the gills with tried-and-true equipment for mixing and mastering, housed in world-class acoustic environments that combine a handful of Ben’s own designs, like speaker stands, and industry standard acoustic products from companies like Autex.
The space combines the production, mixing and mastering rooms into showrooms, with all the gear being available to try and test in a real world context, rather than fumbling with a piece of gear in a shop and hoping you’ll be satisfied with your purchase. This is especially true for monitors, as sometimes you really need to spend some time, or do an entire project on monitoring to find out how it works, or doesn’t work, for you.
The gear ranges from more accessible like Warm Audio in Showroom 4, right up to flagship equipment in Showroom 1 from the likes of Bricasti, Manley and ATC, a staple of Ordio Productions’ facility.
Showroom 1
Showroom 1 is Ordio Productions’ biggest and most highend room, with the ATC SCM110ASL for main monitors. The room is treated for a balanced sound, without being overtly dead, the ATCs being pleasingly accurate, though not clinical or draining to listen to for long periods in Showroom 1.
A dedicated space for mixing and mastering, Showroom 1 combines a range of equipment for either heavy handed compression and saturation (either tube or solid-state), or clean, transparent equipment used to feather a mix into shape with full confidence that every
step of the gear is additive and won’t detract from your final product
Showroom 1’s workflow is based around a handful of incredible pieces from SPL. The SPL DMC Mastering Console serves as the heart of your mix or master, allowing you to toggle between speakers, input sources, as well as having insert options for patching in equipment like the SPL PQ Mastering Equaliser or SPL IRON Mastering Compressor— in no particular order!
ATC monitors are mounted on Ordio Technology OTA-110 Speaker Stands, serving to give you the best possible experience when listening to the world-class speakers.
Ordio Productions’ Showroom 1 is designed to serve as a showroom for some of the audio world’s best equipment, racked and ready to go, patchable via Flock Audio’s Patch VT system, giving you the best possible chance to experience, hear and feel some world-class equipment. This room is acoustically treated with Autex Groove panels.
Showroom 2
Showroom 2 serves as a more dedicated mastering suite, with the gear, monitoring and treatment being curated to generate worldclass masters. The gear in here is mastering grade, and generally feature detented controls for better recall. With Autex treatment and bass trapping, Showroom 2 is a haven for analogue processing, with the likes of Neve, Dangerous, Manyley, SPL and more available to try, test and buy. Again, monitoring is ATC, with a stereo pair of ATC SCM45A Pro Studio Monitor.
Showroom 3
Equipment aside, acoustic treatment is as important a part of any and every studio as the gear in the racks, so Showroom 3 serves as an acoustic showroom, with a comfortable ambience to enjoy music on either the ATC SCM20ASL Pro Studio Monitors, Dynaudio BM5 MkIII Nearfield Monitor or Dynaudio Lyd 5 Nearfield Monitors. This room is also treated with Autex Groove 12mm panels as well as additional wooden diffusion for an accurate and balanced listening experience.
Showroom 4
Showroom 4 is Ordio Productions’ most accessible studio, but this doesn’t mean it’s basic or entry level by any means.
“It’s not for Fisher Price engineers or for dummies.” Ben laughs. But he also acknowledges that it’s plenty for emerging engineers to get their hands (and ears!) on.
Racks of gear are available via the Flock Studio Patch system, a digitally controlled, analogue switching system, with gear from Neve, Warm Audio, SPL and Universal Audio all within reach. A true champion of ATC monitoring,
Ordio Productions also employs ATC in Showroom 4 with a pair of ATC SCM20ASL Pro Studio Monitors nestled between a pair of ATC SCM25A Pro Mk2 Studio Monitors.
Showroom 4 is an incredible opportunity to get to grips with analogue gear, tying together some of the more accessible bits of kit with a world-class room, acoustically treated and built for the best possible experience, while also offering more recording capabilities with mics from beyerdynamic, Audio-Technica and more.
Ben at Ordio Productions understands what a huge investment some of this gear can be, even regardless of the price tag. Emotionally and professionally this is the gear we’ll be trusting with our careers, as musicians trust you with their music, so you’ve got to make the right choice.
Ordio’s four showrooms give you the opportunity to ensure you’re making the right choice, and hey— it’s not our fault if you stumble upon something you didn’t realise you needed!
KRK Kreate In Focus:
WORDS BY JAMIE COLIC
KRK Systems has been at the forefront of professional monitoring solutions for nearly 35 years, prioritising accuracy, reliability and precision above all else. Taking design to new heights, KRK's vision is cemented with statements like “if it's not right, it's not going to the market”
With this philosophy running deep within the brand's consciousness, it's no wonder that KRK has become the reference speaker of choice for many pro producers and engineers, including the likes of Scott Storch (Eminem), Ben Grosse (Blink 182), and Armin Van Buuren.
However, KRK Systems is not a brand that only pledges its allegiance to the working professional, with their extensive product line reaching all demographics of the market. As a matter of fact, KRKs have been the first set of reference monitors picked up by many budding producers, content creators and engineers as evidenced on social media sites like TikTok and YouTube.
From industry classics such as the Rokit and V series, all the way to the brand new Kreate series, it’s evident that KRK have no intention of letting up when it comes to providing modern creatives with the tools required to execute their craft.
Kreate Series
The Kreate series is a testament to KRK’s dedication to providing legendary audio performance to individuals who are on a budget. Created as a gateway into the KRK family, these Bluetooth-ready studio
monitors are the perfect companion for anyone embarking on their first foray into music or content creation.
Combining pro-grade components with accessible connectivity options, the Kreate line is sure to be a future classic.
Kreate 3 Powered Studio Monitor Pair
The little brother in the Kreate line, these 3-inch monitors pack plenty of punch despite their small form factor. Combining the punch of a 3.5” low-frequency driver with a compact 0.75” tweeter for the highs.
A class D power amplifier gets the Kreate 3’s kicking at a hefty 65 watts, with a total dynamic power output of 130 watts. The Kreate 3’s still feature all the connectivity and Bluetooth functionality of their bigger brothers, albeit in a small desk-friendly format.
Kreate 5 Powered Studio Monitor
The Kreate 5’s serve the middle ground for those needing a slightly larger nearfield speaker that will be well suited to a wide variety of spaces.
All monitors in the Kreate range feature innovative boundary conditions and EQ calibration
that help dial in the speakers for optimum performance, even in spaces that are far from ideal, for example, untreated rooms like bedrooms and the like.
Kreate 8 Powered Studio Monitor
The Kreate 8 rounds out the allnew Kreate line, offering the largest and most powerful speaker within its lineage. Packing in the same feature set as the other reference monitors in the Kreate line, the Kreate 8s will be best suited for those working in larger spaces.
Much like the Kreate 5’s, the Kreate 8’s feature a rear ported design, meaning that for best performance, you will want to move these speakers a little further from the wall as to prevent any unwanted and unruly low-frequency rumble.
The KRK Kreate series are some of their more accessible monitors, with no compromise on quality, the Kreate series has something for everyone, and every room! As budding engineers, producers and noise makers, you’ll soon learn how crucial a space is acoustically, and speaker selection plays a huge role in this. While the Kreate 8s might be the most powerful, able to pump out the most low end of the Kreate speakers, that doesn’t mean they’ll be perfectly matched for a small bedroom. You might be better off with the 5s, depending on room construction, layout and design, for a more balanced sound overall.
For more experienced engineers, something like the Kreate 3 might serve as a great
way to have something portable on the road where critical listening is still necessary. Smaller speakers are less susceptible to acoustic inconsistencies because they excite rooms less, and while they may not blow away A&R from a record label, they can get the job done while editing and mixing on the go!
The Kreate series offers an easy entry into the world of KRK, combining decades of world-class experience, R&D and more into some very compact packages. The most compact of these is the Kreate 3, being a two-way design with a 3.5" low-frequency driver and .75" high-frequency driver. The Kreate 5 & 8 level things up a bit with 5” and 8” low frequency driver respectively, and a 1” high frequency driver.
Whatever you need to create, KRK Kreate can help you do it.
Introducing the Fender® Standard Series starting at $999.
In Focus:
Supercool Pedals
Jamie initially refused, having some hesitancy to enter the world of Klon clones, dismissing it entirely.
Supercool Pedals are a small, boutique pedal company operating out of Toronto, Canada. With sounds and effects ranging from the super cool to the super practical, owner and pedal designer (and builder, marketer, researcher and ...) Jamie is bringing his own imagination to the market.
“There was no calculation to start getting into the business,” explains Jamie. “It was just a hobby that started paying for itself.”
“But it was legitimately looking down at my board at a certain point, and wondering ‘Which of these pedals I can start replacing?’, and ‘What don’t I like about these pedals, and what can I improve on?’”
Jamie continues, stating that his goal has always been to make pedals for himself, to make pedals he thinks sound good. He believes if he can make himself happy, it’ll generally ring true for other musicians as well.
“It’s such a wonderful realisation,” he beams. “Everything creative was done by someone who wanted to do it, and you can just do it. You can just kinda do anything yourself at the end of the day.”
Jamie’s philosophy extends far beyond pedals, and we chat about how anything creative needs to have some intent behind it, or it’ll feel like a considered and calculated ploy.
Supercool Pedals had some humble beginnings, Jamie learning to repair his own equipment because he didn’t have the money to have it repaired, admittedly having a penchant for vintage, transistor-based stuff!
“The first [pedal] was a tape loop.” says Jamie. “I really wanted a (Roland) Space-Echo, and I missed the deals on those twenty years ago!” he laughs.
“I found this old schematic in a book, basically it was a little preamp loop that you could hook up into a Marantz three-head cassette tape deck. Basically turning it into a SpaceEcho-ey thing.”
Having found this, and learning a bit from fixing his own pedals, he decided to have a crack at this tape loop. From here, Jamie learned more,
made more mistakes, and ended up producing his own version of the DOD Overdrive Preamp 250 pedal.
“That’s still in the lineup actually. It’s called the Supercool 800, it’s a bit modified from where it began. It’s also really similar to the DIY Distortion kits that I sell to students and stuff like that.”
This schematic being the genesis for his own journey inspired Jamie to produce easy-toassemble DIY kits for others, inspired to help others pursue their own sounds, musical dreams and modifications.
The range from Supercool has expanded far beyond this, now offering multiple drives in the ‘77 Fuzz Blender, Barstow Bat and more, as well as modulation in the Zig-Zag Chorus-Vibrato, and more utility boxes like compression in the Spritz! and a buffer in the aptly named Buffula.
He’s also quick to acknowledge that he’s learning something with every single circuit. Jamie had no official electronic experience to begin with, though relays that his family business is cabinet-making, so there’s an element of assembly, design and troubleshooting in his blood, having grown up helping his dad.
Today, Supercool have a range of pedals that’s expanding all the time. It’s obviously evolved beyond simply filling gaps on his own pedalboard, though Jamie’s ethos to design is simple: he scatters the releases and jumps between a pedal for his own satisfaction, a design he wants to do, and then the next release will be something for the market, either to identify a gap in people’s boards or to satisfy demands and ideas from customers.
“For example The Thneed was not a pedal I wanted to build at all. A friend had asked me ‘Hey, can you build me a Klon?’”
“I percolated on it for a while, and I started playing Klons out there and didn’t really like any of them out there. So I asked myself: ‘What don’t I like about it?’, and eventually I realised it would probably sell really well. How many people own more than one Klon, y’know?”
Jamie had finally wrapped his head around the fact that if people love a circuit, they love the subtleties and differences in it, and The Thneed was born, admittedly deviating a lot from the Klon.
“I just released The Triniphase, which was really for me.” he admits. “I was missing a phaser on my board, and I released that for me. The next pedal release I have to make sure is a bit more accessible.”
While some of Jamie’s designs are purely for him, they obviously have a market as we discussed earlier. The aforementioned Triniphase is a cool pedal, even just aesthetically its reminiscent of an arcade game or synth-wave album cover, and has five colourful controls to adjust it. The Depth controls allow control between 4-stage and 8-stage phase effects, and the Length control adjusts LFO modes. Phase based pitch shifting is controlled by the Mode switch, the two main knobs controlling Reso (aggressive or subtle feedback control of phasing effect) and Rate (to adjust the phase effect from subtle sweeps to near self-oscillation).
Speaking of aesthetics, Jamie makes a point to mention the packet of Camel cigarettes that inspired his artwork, a visual journey that had carried onto his entire range, namely on the Supercool ‘77 Fuzz Lite pedal.
“I put as much effort into the art and designs as I do the circuit itself, so it all has to fall together synergistically at the end of the day. That’s something that is brutally difficult to synthesize too.” he says with a laugh.
Jamie pushes this further, saying that even pedals he’s owned in the past need to speak to him artistically; from the design to the packaging to the sound itself.
“Right through it needs to speak to me as a piece of art.” he concludes.
In Focus: Making space with the Electro-Harmonix Canyon Echo and 3-Verb
WORDS BY WILL BREWSTER
All guitar players are partial to their own sonic proclivities, and everyone’s entitled to their own favourite effects pedal.
But let it be known: if we’re talking holy grail guitar tones, then depth and dynamic are the two things that’ll separate you from the pack and make you a great player. And the real trick? It’s not the notes you play: it’s all about the space between them.
Ambience and texture are so important to the makeup of modern music. Rippling echoes, cavernous reverbs, ping-ponging delays and fluctuating feedback make all the difference whether live or in the studio, and when it comes to depth, few brands do things better than Electro-Harmonix (EHX).
EHX have been masters of creating high quality reverb and delay pedals for decades, with classic units like the classic Memory Man delay and the more contemporary Holy Grail and Cathedral reverbs being held in high esteem by many players. EHX are obviously cognisant of this legacy and have recently looked to expand on it with the Pico NYC DSP series, packing immersive tone-shaping into pint-sized pedals to appeal to a whole new generation of guitarists.
Squeezing a trio of classic reverb circuits and a trove of secondary features into a unit that’d fit in the palm of your hand, the Pico Oceans 3-Verb is the perfect counterpart for any budding shoegazer or surf rocker. It dishes up a Fender amp-inspired spring circuit, a lush plate reverb and a rich hall reverb with dedicated controls for wet/dry blend and tone, while a secondary control knob lets you choose between three different spring lengths or toggle pre-delay in plate and hall modes.
A tails bypass function can also be toggled to create seamless transitions between sets, letting
your reverb ring out even after you’ve stomped on the footswitch. This is an invaluable feature that really adds a lot in live settings: trust me, there’s absolutely nothing worse than a rich reverb abruptly cutting off mid-set.
One of the 3-Verb’s hidden features is unlocked by cranking the Time control in plate or hall mode and latching the bypass switch, which automatically takes the pedal into infinite reverb mode. Any self-respecting soundscaper will know that infinite reverb is the secret to creating truly immersive ambient textures, and the 3-Verb’s infinite verb is an absolute delight to play with. Fluttering tremolo dips and dynamic volume swells sound glorious in this setting, particularly when paired with a splash of delay or modulation.
Speaking of delay, let’s move on to check out the EHX Pico Canyon Echo. Longstanding pedal-heads will know all about ElectroHarmonix’s Canyon Delay and Looper pedal, which has won plaudits all over the world for its extensive echo tones and vintage sound-onsound looping effects.
The Pico Canyon Echo extracts the digital delay model from its older compatriot and injects it into a dedicated stompbox format, with up to three seconds of delay time and some seriously impressive sound-sculpting possibilities. On the face of the pedal, you’ll find all the usual suspects: a delay knob controls the response time, feedback lets you choose from a single repeat all the way through to crazy, dubby freakouts, and blend controls the overall wet/dry mix of the signal.
One nifty feature bundled into the Pico Canyon Echo is the filter control, which functions as a high-pass filter when dialed behind 12 o’clock
and low-pass filter when cranked past the right hand. This filter function really lets you lean into your inner King Tubby, taming wild frequencies and adding organic warmth to your wet signal.
Similar to the Pico 3-Verb, the Canyon Echo also makes use of the tails bypass feature to prolong your delay tones once the effect is disengaged. It’s hard to overstate how useful this function is, especially when transitioning to a new part of your set or looking to add depth to a particular passage.
This feature is complemented further by the Canyon Echo’s new infinite repeats mode, which repeats a single delay and takes the input out of the overall delay path. In a nutshell, this turns the Canyon Echo into an ongoing soundon-sound loop that can be played over without adding new delays - think Robert Fripp’s famous Frippertronics soundscaping work of the ‘70s, and you’re somewhere in the ballpark.
Tweaking the delay control in this mode can create some truly weird and wonderful freakouts, which are easily tameable with a touch of wet/ dry blending - no need to blow out your speakers this time.
A handy tap tempo function is included and can be engaged by quickly pressing the footswitch twice, with the inbuilt LED blinking in correspondence with your BPM. Subdivisions can also be employed with the tap div button, letting players toggle between quarter notes, dotted eights and eighths should they desire.
With the Pico 3-Verb and Canyon Echo, Electro-Harmonix have created a one-two punch that would be the envy of any ambient leaning instrumentalist. These pedals might be compact, but they squeeze a whole lot of sound-shaping beneath the hood, with incredible tones and secret features galore. If you’re looking to dominate depth and dynamic and add a splash of space into your playing, you’ll be in safe company with these two units on your pedalboard.
BRAND: Paul Reed Smith
PRODUCT: PRS SE NF 53
DISTRIBUTOR: Electric Factory
RRP: $1999
REVIEW BY: Christopher Hockey
In 2023, PRS introduced the NF 53, their take on the classic T-Style guitar design. The NF 53 was intended as a respectful tribute to the original as well as being uniquely PRS with its modern appointments and updated specs. Now in 2025, PRS are relaunching the NF 53 as a part of their affordable SE (Student Edition) range, ensuring that the guitar can be enjoyed by everyone, regardless of their budget.
The PRS SE NF 53, despite being a more affordable model, is a powerful, modern guitar that taps into the spirit of the original 1953 guitar, owned by Paul Reed Smith, that inspired it. Constructed with a swamp ash body and a bolt-on maple neck, PRS haven’t skimped on quality materials with this guitar. Its White Doghair finish is immediately eye-catching, with grainy flecks of black scattered across its creamy base colour, and its abalone fretboard inlays seal the deal, working nicely with the finish. The PRS SE NF 53 range is completed by the contrasting Black Doghair finish, and a Pearl White model.
The body shape of the NF is of course familiar but includes the uniquely PRS additions of a shorter horn, a generously contoured cutaway, a rounded off heel for improved fret access and forearm and rib contours for optimal playing comfort. The NF is also noticeably and pleasantly lightweight, making this a very comfortable guitar. Adding to the NF’s excellent playability is a very comfy maple neck which has a very full profile and an extremely smooth, almost raw finish.
Unplugged, the NF sounds extremely resonant and lively which many take as a good sign. PRS are known for their excellent construction and attention to detail when it comes to materials and that always comes through in the sound. From its ash body and maple neck to its steel plate bridge and brass barrel saddles, this is a well-built guitar.
The maple neck, in line with the inspiration for this model, has a 25.5” scale length but unlike the original, has 22 frets and a 10” fretboard radius in true PRS style. The fullness of the neck makes for a super comfortable playing experience and the balanced radius provides a solid middle ground that is well suited for lead, rhythm and everything in between. The NF features PRS’s classic three-per-side headstock which for this model is loaded with lovely bone coloured tuners that match the guitar’s striking finish.
The SE NF is loaded with two of PRS’s Narrowfield Deep Dish ‘S’ pickups, mini-humbuckers designed to sound just like a single coil, without the hum. Narrowfield DD pickups are made with taller bobbins to fit more winds and extra metal pieces in between the magnets for a focused, powerful tone and the ‘S’ variant is specifically voiced to emulate the properties of a classic single coil pickup.
In practice, the SE NF does sound much like a traditional T-style guitar, but with a bit more output and a lot more bottom end. The twang is there, but the hum-cancelling pickups give it a bit of a thicker tone that makes the guitar quite versatile. In the bridge position, the NF sounds bright and
spanky, with plenty of midrange and high end shimmer. In the neck position, thicker and warmer tones can be accessed with a generous bass response, the NF still retaining its clarity and never sounds muddy.
In the middle position, the Narrowfield pickups sound thick and full with a nice even frequency response and a sweet top end. Overall, this guitar can definitely nail some classic country tones, but is equally well suited for rock. T-Style guitars are famously versatile and the addition of these pickups makes the NF even more so. This guitar also features very simple controls, its three way pickup selector is matched with a single volume and a single tone control, making it very quick and easy to dial in a sound.
The SE NF would be well suited for players who are attracted to the T-Style look and feel but who are after something a bit more modern and with a beefier tone. With the SE line’s low price point, this is also a very accessible guitar for beginners. Along with the price, the versatile sound, highly comfortable playability and the simplicity of its layout also make this model very well suited for people at the beginning of their guitar journey.
With its striking cookies and cream-esque finish, familiar but fresh body shape, and of course PRS’s signature bird shaped inlays, the SE NF 53 is more than just a clone of a classic, it definitely has its own mojo. Beyond its eclectic look, this guitar is very well constructed and has that lively resonance that a good, solid guitar has, making it feel alive in your hands.
The full, thick neck is smooth and buttery and thanks to PRS’s innovative contouring, the fret access is exceptional, making this guitar incredibly playable. Despite the low price tag, it is evident that great care went into making the NF both a pleasure to look at and to play. Small details like lightweight wing button tuners and abalone fret inlays make this guitar feel really special, far more so than one would expect from an entry level model.
Most importantly, it sounds great. With all the twang and snarl you’d want from a T-style guitar but with plenty of low end to back it up, there isn’t much this guitar can’t do. Truly an all rounder, this is a beginner’s instrument elevated to new heights. The Narrowfield pickups in this model are clearly high quality and provide the even, balanced tone that PRS is known for. The lack of 60 cycle hum is also appealing for those who enjoy the timbre of single coils but have no tolerance for the extra noise.
Affordable, high quality and versatile, this really is the perfect beginner’s guitar for a world in which money is tight for many who need to cover a lot of ground with a single, accessible instrument. It may be based on a guitar from 1953, but the PRS SE NF 53 is most definitely a guitar for right now.
BRAND: Fender
PRODUCT: American Ultra Luxe Vintage 60s Telecaster
DISTRIBUTOR: Fender Music Australia
RRP: $5399
REVIEW BY: Christopher Hockey
Fender have nailed it again with a very special new iteration of their legendary Telecaster. The Ultra Luxe Vintage 60s Tele is a perfect hybrid of the old and the new, celebrating Fender’s golden era whilst propelling the classic Telecaster design ever forward. Representing the pinnacle of innovation and craftsmanship, this guitar is Fender’s new benchmark for a premium electric instrument, with no holds barred and no expenses spared.
Timeless design and impressive modern refinement are both at play in this Tele, which looks stunning upon first inspection, sitting in its beautiful vintage style hard case. A vibrant Lake Placid Blue finish is the first to catch the eye, sparkling in the light and harkening back to the classic American cars that continue to inspire Fender’s finishes. At a glance, a discerning eye will identify some classic vintage hallmarks on this guitar that reference the legacy brand’s revered 60s era, as well as some surprising but welcome new features.
Some of the obvious 60s inspired features include clay coloured dot inlays rather than the more modern white, a retro spaghetti style logo on the headstock and a beautiful mint green pickguard that just screams ‘60s’. A seasoned Fender player however will quickly notice some very modern and very welcome upgrades to this guitar. Firstly, the glittering blue finish is bordered by a classy white binding which really elevates the aesthetic of the instrument. Secondly, the presence of locking short post tuners immediately identify this is a deluxe model equipped with modern improvements.
Thirdly and most notably, the body features brand new deluxe contours designed for maximum comfort and playability. These new contours do nothing to take away from the guitar’s classic design but make it significantly more comfortable, with softer edges making it much easier on the rib cage than a standard tele. The tapered neck heel also allows for unprecedented fret access all the way up the neck, a vast improvement upon the standard Fender neck heel on lesser models.
Within the beautiful Rosewood fingerboard also lies some fantastic features (ultra luxe if you will!) that really elevate this tele to something much more than another 60s tribute. Luminlay side dots ensure your fretting hand won't get lost in the dark, a Graph Tech TUSQ ensures ultimate reliability and a 10”-14” compound radius means that strumming some cowboy chords and ripping a solo past the 12th fret feel equally comfortable, with minimal risk of fretting out. The maple neck itself is extremely comfortable with a Quartersawn Modern D shape that is simply perfect. Rolled fretboard edges also contribute to the premium look and feel, making this an incredibly comfortable guitar to play as well as being obviously gorgeous.
Hardware wise, Fender hasn't skimped on a single detail with this one. Aside from the extremely stable and convenient locking tuners, the Luxe Vintage Tele features stainless steel frets, a precision-engineered 6-saddle string-through-body bridge with chromed brass block saddles and most importantly, two Pure Vintage ‘63 Tele Single-Coil Pickups. The ‘63 pickups
provide the best possible example of the classic Telecaster sound, but there’s more hiding under the hood.
In the bridge position, the Ultra Luxe has the classic twang and bite that Teles are famous for, with tremendous clarity and definition. Set clean with some reverb and slapback and you have the ultimate country guitar tone. Cranked up with a bit of dirt and its rock and roll all the way. In the neck position, the Ultra Luxe sounds warm, smooth and spanky. Perfect for jazzy rhythm sounds or a nice smooth sustaining solo. The middle position, however, is where this guitar shines, thanks to a hidden feature that makes this position two positions in one.
The Ultra Luxe features what Fender calls an S-1 switch, a switch built into the volume control that unlocks a world of tonal possibilities. The S-1 switch allows players to switch between two different wiring modes in the middle position. Whilst disengaged, the two pickups remain, as they normally would be, wired in parallel, providing a nice balanced single coil tone. Engaging the S-1 switch puts the pickups in series wiring, resulting in a much fatter, rounder, higher output tone very reminiscent of a humbucker. This really broadens the Tele’s horizons tone wise, making it a one stop for all your musical needs.The subtle nature of the switch’s placement also allows this guitar to be extremely sonically versatile without messing with the iconic Telecaster design.
All in all, this is basically Fender’s attempt at the ultimate Telecaster. It takes the best of what makes the classic 60s models so special and combines it with the most cutting edge features that Fender has to offer. The aged Heirloom lacquer finish may be the first thing that catches your eye but there’s a lot more to this Tele than its good looks. Vintage throwbacks like clay dot inlays and a mint green pickguard may transport you back to the 60s in the best way possible, but the feel and sound of this guitar are perfect for right now.
The new body contours, tapered neck heel and superb D-shaped neck make this the most comfortable Telecaster I've ever played. All excellent innovations that take this guitar to a new place. Aside from the feel, the ability to access humbucker-like sounds with the S-1 switch without having to sabotage the guitar’s classic appearance is really appealing and makes it much more versatile than the average Telecaster.
With a shimmering high end, meaty mids and a low end that packs a wallop, particularly with the S-1 switch engaged, this is a very balanced and effective guitar that could be used for a vast variety of purposes. But it's a lot more than that, it feels, looks and sounds extremely special, truly a cut above the rest.
The American Ultra Luxe Vintage 60s Telecaster is an investment in a beautiful instrument that represents the absolute best that Fender can do. And after seventy years of making these guitars, the best they can do is pretty damn good.
You’ll find Allen & Heath in venues all across the world, their products serving both to push the envelope of sound as well as providing products that’ll outlast many of the local bands whose sound they process.
The Qu-5D falls into the former category, the Qu-5 being part of next generation in the new Qu series mixers, while the addition of the ‘D’ in its name communicating that this mixer is equipped for Dante, allowing for expanded connectivity, flexible routing and above all, a future-proof design. It’s important to note that the Qu-5 can’t be equipped with Dante after the fact, and this is the only thing that differentiates the Qu-5 and the Qu-5D, as well as a slight increase in price for the Dante equipped model we’re reviewing here.
The Qu-5D is the smallest in the range of Qu mixers, at least in footprint. Featuring 17 motorised faders and four layers, the Qu-5D expands quickly from a tidy little mixer into something well and truly capable of mixing larger bands, groups and shows with ease. The 17th fader on the far right of the fader bank is intended for use as a master mix fader, while the remaining 16 faders can be used for separate tracks and signal. While your workflow is entirely customisable, I quickly found the multiple layers and faders handy for keeping track of different areas of my mix; for example the first layer might be mic inputs, while the second layer is my sends to monitors, the third and fourth layers being the amount of send to effects, and the fourth being returns for those effects. If you like to use groups, you can assign groups to layers, or whatever workflow you like. This way I was able to quickly toggle between whatever the mix (or the artist!) might demand.
On the subject of sending and receiving effects, the Qu Series have an array of onboard effects like Delays and Reverbs, handy for creating space in a mix, as well as typical chorus and modulation effects, coupled with more specific sounds via Allen & Heath’s DEEP Plugins like Gated Verb, ADT (Automatic Double Tracking), Symphonic Chorus and more!
Processing like Compression, Gating and EQ is available at the input stage, more like an insert effect, and again, the Qu-5D offering more utility options for compression, while also having some familiar compression options in the BUS compressor, the Optronik that offers optical-sounding compression, some classic FET sound in the ‘76 Classic Limiter, and more.
Effects and processing is handled by Allen & Heath’s XCVI DSP processing, keeping everything operating at its best without ever being at risk of overloading the system and also enabling high sample rate at low, low latency.
Physically, the Qu-5D features 16 combo XLR/¼” inputs, a talkback mic in and 12 outputs, with output 11-12 seemingly intended for master/mix out with the addition of “L” and “R” besides the channel numbers. There’s also balanced ¼” “Alt Out” options, with a pair of additional Stereo Ins accessible via ¼”. Nestled in between the Network/Cat5 connection and the SLink port (to enable connection to external stage boxes and the like) sits the Dante port, all three of these connections having a status indicator light. The IEC cable input is paired with a small cable hook to prevent power being yanked around, and out of its socket.
Turning the Qu-5D, the Qu-5D is very intuitive, and while it has powerful customisation and routing capabilities under the hood, getting sound from a mic to the output was very simple. Plugging in a mix gives you access immediately to gain and gating controls, and intelligent LED signal indicators
BRAND: Allen & Heath
PRODUCT: Qu-5D
DISTRIBUTOR: Technical Audio Group
RRP: $4999
REVIEW BY: Lewis Noke Edwards
on the channels let you know that signal is coming in, as well as how hot it is at a glance, even if you’re using the overhauled touchscreen to display something else! A few handy indicators and meters are always available. The Select/SEL button allows you to quickly and easily display and adjust channel gain and processing, all the while monitoring your main mix, and quickly using either the touchscreen or tactile knobs and controls to adjust gating, compression parameters, EQ frequency, band, bell shape and more.
If all of this sounds like too much, you can always use Allen & Heath’s Automatic Mic Mixer. Coupled with Allen & Heath’s Feedback Assistant, the Automatic Mixer allows the Qu-5D (and a range of other Allen & Heath products might we add!) to monitor the incoming signal and adjust gain for optimal sound, while the Feedback Assistant can identify problem areas of build up, with up to 16 bands per output, meaning you can focus on giving both artists and the audience optimal sound. While these obviously don’t replace a mixing engineer, they serve as a great way to get up and running quickly, giving you a great starting point for sending, receiving and routing audio.
The Qu-5D borrows from the entire history of audio, blending cuttingedge technology and some classic sounds, albeit via digital recreations of classic compressors and effects, and packaging it up into a practically laid out mixer that is compact enough to be racked if you wish!
The 5D is the smallest of the new Qu series of mixers, offering 16+1 faders to mix, and four layers to spread out auxiliary sends, groups, effects and more across those 16 faders. The larger siblings in this range are the Qu-6 and Qu-7, with 24+1 and 32+1 faders respectively, both of these also having the addition of a Dante connection available in the Qu-6D and Qu-7D. Powerful processing is available via XCVI DSP processing, while their range of DEEP Processing plugins bring more to the table if you need a little flavour and colour across your mix. Clear metering is one of those additions that is there for you when you need it most, and handy automatic mixing and feedback prevention allows you to be up and running quickly, or easily able to tackle issues on the fly. Sometimes the gig of sound engineering is more about managing issues than it is mixing, but hey— the show must go on.
The Allen & Heath Qu-5D is the latest from a band that’s been trusted for decades, and for good reason. Pushing boundaries while retaining the best of their own tried and true designs, the Qu-5D brings Dante to the fore, future proofing your venue, mixer, rig for years of technological advances to come, to be trusted gig after gig.
BRAND: Gretsch
PRODUCT: Electromatic® CVT Double-Cut
DISTRIBUTOR: Fender Music Australia
RRP: $699
REVIEW BY: Will Brewster
Guitar players are seriously spoiled for choice nowadays. Whether you’re a fan of the classics or you’ve got a penchant for all things modern and pointy, there’s seriously something out there to appease everyone in 2025.
One of latest unveiling from Gretsch, the Electromatic CVT, falls somewhere between these two aforementioned categories. It’s sleek, but solid: a combination of bulky mahogany and smooth contours, with an enticing neck profile and appointments that celebrate Gretsch’s longstanding legacy as a disruptor within the guitar manufacturing market.
Straight out of the box, the Electromatic CVT is a certified head-turner. It boasts a space-age silhouette reminiscent of older Gretsch Corvette models of yesteryear, with a double-cut design allowing for uninhibited fretting high up the neck. The CVT’s beveled contours also add a touch of class and comfort, making for an extremely pleasant playing experience whether seated, slouched or standing.
This playing experience is only enhanced further by the CVT’s somewhat unique 24.6” scale length - a happy comfortable shorter scale. Traditional single-cut guitars employ a 24 ¾” scale length while classic Fender designs harness 25.5”. These proportions make the CVT a natural choice for younger players or guitarists being pigeonholed into a rhythmic role for the betterment of the band (guilty), and really help unlock some seriously punchy tones to boot.
The Electromatic range is typically considered as Gretsch’s most affordable series, with manufacturing for the CVT being handled in China. Upon detailed inspection, it appears that the company has cut no corners when putting the CVT together.
As if the sleek contours and chunky mahogany body wasn’t enough, the CVT also delivers a bolt-on mahogany neck with a bound laurel fretboard and classic Gretsch “Neo-Classical” fret markers, with a comfortable Performance ‘C’ shape neck and a real bone nut for improved sustain and playability.
The three finish options - Wychwood, the Vintage White reviewed here, and Havana Burst - also add a touch of class, and once you throw in the wraparound bridge with adjustable saddles, knurled control knobs and nickel hardware to top it all off, you’re looking at a real workhorse built for the needs of the modern player.
Sonically, the Gretsch Electromatic CVT is a proper musical multi-tool, with dual Twin Six humbucking pickups delivering plenty of punch and nuance at either end of the guitar. It’s worth noting that the CVT’s simple knobs take care of master tone, master volume and a simple pickup switch. This means you’ll need to take a detailed approach to dialing in your tones, and get used to rolling off the controls to cut and add frequencies where required.
While some may wish for the convenience and creature comforts of a blend control or toggle switch, it’s barebones features like these that really
help you gain confidence and familiarity with your instrument, and it’s not a feature that’ll make or break a purchase.
Nevertheless, it must be said that the Electromatic CVT is an incredibly versatile sounding instrument that’s ultra-playable and oozes charm. The mahogany body is weighted nicely, the neck is smooth to navigate, and the laurel fretboard is slick and provides a subtle warmth that fits perfectly behind the mix. The fact that there’s no jagged frets, blemishes or crackly electrics also speaks volumes of Gretsch’s quality control.
Plugging into just about any amp, it absolutely rocks, with the neck humbucker producing an impressive response when paired with a plectrum and a dollop of natural gain. This combination unlocks the kind of tone that’d even raise the eyebrows of the most discerning players - plenty of woof, lots of character and dynamics deluxe. However, it’s also wonderfully responsive to fingerstyle or faster picking styles with the tone rolled back, dishing out low-end tones reminiscent of the best jazz and blues gurus from years bygone.
Move onto the bridge pickup, and you’ll find a surprisingly bright and dare-I-say funky tone that slices the mix like a knife through butter. It’s a great choice for disco or brittle post-punk guitar, and can really heat up when paired with a few effects pedals - it must be said a splash of chorus on this thing sounds like a treat. With a bit of tone tweaking and careful attention to amp settings and playing dynamics, it’s possible that the Electromatic CVT is capable of covering any genre.
With its unique aesthetic charm, inviting scale length, solid tones and a clear focus on ease of playability, the Gretsch Electromatic CVT delivers all you’d expect from a guitar at this price point, plus some. It’s perfect for newer players and multi-instrumentalists looking to get their first ‘serious’ six-string instrument, and even seasoned pros will appreciate what this little beast dishes out.
The HeadRush VX5 is a stellar new offering from HeadRush. Building on HeadRush’s range of AutoTune equipped pedals, the VX5 is equipped with the famous Antares AutoTune, the original and the best tuning effect. From hard tuned, overtly effected vocals to smooth, subtle tuning, the VX5 can do it all, as well as some awesome effects to toggle on and off with the two sturdy, silent switches.
I quickly had sounds happening with the VX5, instantly selecting the Hard Tune preset to really put the effects, and my pipes, through their paces. Setting sounds is easy via the Preset button, with 250 presets available, and easy control over AutoTune parameters with the Speed and Humanize button allowing you to dial in both the speed with which the AutoTune slides between notes and how smoothly (i.e. “human”) it does it.
Another handy feature is the harmony setting, that allows you to add harmonies to your tuned vocals, again with control over how artificial or human the harmonies sound. Additional effects like Reverb, Distortion, Saturation and more are easily available to layer with your vocals, either dialled to 100% wet for totally effected sounds or layered beneath for a little depth and grit!
The HeadRush VX5 has the handy feature of featuring Guitar In and Thru jacks, the guitar input being available to be used to control the pitch correction, rather than the vocal input. This setting can be toggled on and off!
The VX5 features XLR input
and output, with phantom power available for condenser mics, as well as a handy ground lift for the XLR, i.e. if you’re using the VX5 with a guitar amp or other unbalanced sources! The guitar input is an unbalanced connection, while the Thru is also unbalanced. There’s a microphone input Gain knob, 3.5mm headphone connection and USB-B connection for firmware updates (with an included cable!)
The face of the pedal has a perfectly sized 1.8” colour screen that switches views depending on knobs you’re adjusting or depressing, always jumping to clearly display the parameter being adjusted. Below the helpful microphone ‘Peak’ light (that communicates when the incoming Gain is too high on the mic input) is a Preset/Edit knob that sits above the ‘Humanize’ control. Mirrored on the other side are two knobs of equal size, but for controlling overall Volume and the aforementioned ‘Speed’ controls.
Possibly most helpful of all are the three buttons on the centre of the unit that are used to turn ‘Autotune’, ‘Harmony’ or ‘FX’ on or off for the currently selected preset. This way you can quickly jump between overtly effected sounds on the fly, or quickly add them while finding a sound. ‘Preset’ and ‘Key’ controls are also front and centre for adjusting quickly!
The two main footswitches are multi-function, being used to toggled preset up or down in standard mode, and depressing the left button for two seconds allows you to enter ‘A/B Mode’ for toggling effects on
BRAND: Headrush
PRODUCT: VX5 Vocal Processing Pedal
DISTRIBUTOR: Electric Factory
RRP: $479
REVIEW BY: Lewis Noke Edwards
and off within a preset, and the right button switches to ‘Talk’ mode when held for two seconds. ‘Talk’ mode enables you to turn off all processing during a break, i.e. to address the crowd.
From a handful of controls, you can quickly both navigate presets as well as adjust them on the fly, allowing you to harness as much or little tuning technology as you wish. The HeadRush VX5 brings world class tuning to the table (or pedalboard, mixing desk etc.!) and makes it easier than ever to process your vocal, along with some nice reverbs and effects if needed. While FOH engineers might be able to nestle your vocal into a mix, they can’t toggle between ear-catching sounds, and that’s where the VX5 comes in; entirely suitable for subtle effects, but mostly suited for overt effects like distortion, hard-tuning and modulation, but also equally handy for solo singer songwriters harmonising with themselves, or for effects aficionados wanting to bring together their guitar player and vocals when using the Guitar input to trigger the tuning itself.
Very robustly designed, noticeably solid and built to last, the HeadRush VX5 has so many more features under the hood than the simple, well-laid out design might lend credence to. A handful
of buttons and dials can unlock a world of sounds, tones, effects and processing, all easily accessible, adjustable and toggle-able on the fly, either to craft the perfect sound, or to leave the details up to those fleeting moments of inspiration on the stage or in the studio.
The HeadRush VX5 is a home run in the growing range of Antares equipped effects from HeadRush, building on a legacy of world-class processing from both them and Antares, and bringing the sounds to the masses. The HeadRush VX5 puts a unique spin on vocal effects, filled to the brim with additional tools to help you sound your best on the stage or in the studio.
BRAND: Gretsch
PRODUCT: Electromatic® CVT Bass Double-Cut
DISTRIBUTOR: Fender Music Australia
RRP: $699
REVIEW BY: Christopher Hockey
Gretsch fans have long enjoyed their CVT range of six string guitars, a fantastic solid body design with a highly accessible double cutaway and plenty of modern appeal. Now, the legendary brand are bringing the CVT shape to their range of basses with the new Electromatic CVT Bass, a stylish, modern and very affordable addition to their repertoire.
The CVT Bass features a refined body shape that really suits the larger instrument. With a generous double cutaway, asymmetrical horns and bevelled contours, it looks great and is super comfortable. The body is made of solid mahogany and features a beautiful Bristol Fog finish, which is like a dark smokey burst that looks really classy. The finish also has a nice glossy feel to it which only adds to the allure.
The CVT features a bolt on mahogany neck that is a thin, fast ‘performance’ C shape. With a medium scale length of 32”, the CVT feels very balanced and is really easy to play even for somebody like me who is more at home on a guitar. The combination of the shorter scale length and the thin neck makes it pretty easy to zip around on so I'd say it would be an excellent choice for any genre including those where speed is paramount.
The Laurel fretboard looks lovely and is adorned with classic Gretsch thumbnail fret makers along with a classy white binding and a genuine bone nut. In terms of hardware, the CVT is loaded with a direct-mount 4-saddle bridge, knurled metal control knobs and classic Gretsch machine heads, all made of Nickel.
The CVT is a really comfortable instrument with its smooth contours, rounded neck heel and slender neck and its dark aesthetic definitely says ‘heavy metal’ to me. In saying that, this bass would work well for any genre thanks to its extremely versatile sound. The CVT features Gretsch’s fantastic Low Down Alnico pickup combination of a single coil in the bridge and a humbucker in the neck, creating a myriad of tonal options.
In the absence of a pickup selector, the CVT simply has independent volume controls for each pickup, allowing the player to blend the two sounds to their taste. With both pickups on full, the CVT sounds warm, bouncy and balanced with an immense low end, warm mids and a nice amount of top end sizzle. As you roll the bridge pickup off, more of the humbucker’s round, full bottom end starts taking over and you get a warmer sound. With the bridge pickup on full and the neck turned down, you get a brighter, thinner sound with a nice woody plonk in the midrange.
The characteristics of both pickups make for a great combination and the ability to dial in as much or as little of both pickups creates a really wide spectrum of tones. This is aided by the presence of a master tone control, which acts as a nice linear treble roll-off. Dialled in to be bridge pickup dominant with the tone rolled off a little results in some really nice J-bass tones, whereas the neck pickup on full blast will get you more into P-Bass territory but with a more modern edge and a vaster bottom end. All in all, the Low Down pickups have both
gut punching low end power and excellent balance and clarity.
A great thing about this bass that sets it apart is the medium scale length, which makes for a really balanced feel and sound. Boasting the blooming lows of a short scale bass and the increased harmonic resonance of a long scale, the 32” length of the CVT is right in the goldilocks zone. The tone of the CVT is bouncy enough and has enough zing to cover a lot of ground but it also definitely has the low end power and output to handle heavy music. Whilst not an active bass, it certainly has the look and the power that appeals to metal players, as well as a lightning fast neck.
The body itself is quite thin which adds to its modern appearance but the solid mahogany construction ensures that this bass is anything but flimsy. A bolt on neck ensures rock solid durability, making this a bass worthy of the road, despite the very accessible price tag. Like all the Electromatic range, affordability is the name of the game, but not at the expense of quality. The CVT looks every bit as classy as you’d expect a Gretsch to be, with a cool modern edge that places it firmly in the 21st century. Although a great choice for a beginner’s budget, this is anything but just a beginner’s bass.
Once again the Electromatic series has delivered an affordable but gig-worthy instrument that looks slick, plays great and has a professional quality sound. The CVT would be a great choice for somebody looking to upgrade from a cheap student model or an entry level bass when they are ready to
start gigging. It would also be a great choice for a seasoned player looking to add a new flavour to their arsenal with a bass that provides a different vibe from more traditional choices.
The CVT Bass is immediately eye-catching thanks to its slim body, mean looking double cutaway and its smokey Bristol Fog finish. More importantly, it has the sound to back it up. Packing an enormous low end wallop, this bass will help you get dance floors moving and stages shaking without breaking a sweat. With its super versatile pickup layout, rock solid construction and balanced feel, there’s a lot to like about this new addition to Gretsch’s lineup.
Not every guitar design translates well into a bass version but this one certainly does. If anything, this body shape may have found its true home in this model.
I can see it becoming a popular instrument for up and coming players not just for its low price tag but for something it has in spades, attitude.
We’ve reviewed a lot of Markbass’s equipment in the past, and the CMB 102 Black Line represents one of the latest offerings from their Black Line range, now including two 10” speakers in a robust enclosure, great for smaller gigs and more. Grit and drive is available, and high headroom makes it a perfect option for clean sounds as well, the dual speakers pushing out plenty of sound across the entire frequency spectrum.
The Markbass CMB 102 Black Line stands as an amazingly accessible 2x10" combo for players of all creeds, which complements other combos in the Italian manufacturer's acclaimed Black Line series. This solid-state combo amplifier represents an excellent bridge between practice and performance applications, offering professional Markbass tone in a format that's both accessible to beginners and practical for gigging musicians.
At the heart of the CMB 102 Black Line is 150 watts and 2 x 10" speakers that delivers enough power for the rehearsal room or smaller gigs. This power rating strikes an ideal balance – providing sufficient volume for band rehearsals and intimate venues while remaining manageable for home practice sessions. With 150 watts of power driving the two 10-inch speakers, the CMB 102 Black Line provides a full, rich tone that's ideal for practice, rehearsal and gigs.
The CMB 102 Black Line excels in multiple scenarios. For home practice, its headphone output and aux input create an ideal learning environment. In rehearsal settings, the 150-watt power rating provides ample volume to compete with drums and amplified guitars. For smaller venues, coffee shops, and acoustic sets, the combo delivers professional sound quality without overwhelming the space.
The balanced output also makes this amplifier recording-friendly, allowing direct connection to audio interfaces for home recording projects. This versatility makes the CMB 102 Black Line a comprehensive solution that can grow with a player's developing needs.
The speaker configuration offers several advantages over singlespeaker designs. Firstly, this setup provides better frequency response, increased projection, and more even sound dispersion throughout a room. Secondly, the speakers work together to produce the punchy, articulate tone that Markbass amplifiers are renowned for, delivering clarity across the entire frequency spectrum from deep lows to crisp highs.
The CMB 102 Black Line features 4-band EQ with Low Mid and High Mid controls, a Scooped switch for removing a nice amount of mids, the BOOST switch to add nice saturation to your sound. This comprehensive control section allows bassists to sculpt their tone with precision. The fourband EQ overall includes separate bass, two midrange frequencies, and treble controls, providing exceptional tonal flexibility.
The two midrange controls allows for precise tonal adjustments. The Scooped switch creates that sought-after "smile curve" EQ setting that enhances both bass and treble while reducing midrange frequencies –perfect for cutting through a dense mix. The Boost switch adds harmonic saturation and compression, ideal for achieving that warm, driven tone that
BRAND: MarkBass
PRODUCT: CMB 102 Black Line
DISTRIBUTOR: CMC Music
RRP: $1395
REVIEW BY: Lewis Noke Edwards
works beautifully for rock and funk styles.
Modern bassists need versatility for both gigging and practice, the CMB 102 Black Line delivering on connectivity options. It features a headphone out and an Aux In for connecting your favourite media players to mix with your bass, the headphone jack silencing the speaker and allowing you to practice anywhere, anytime. This combination makes it perfect for silent practice sessions, whether you're working on technique late at night or playing along to backing tracks and songs.
The CMB comes with a handy Balanced XLR Out for when 150W of raw bass power isn't cutting the mustard and you need to connect to a larger PA system or recording interface at home or in the studio! Balanced signal output maintains signal integrity over long or messy cable runs and provides a professional connection option for live performance and studio work. This connection also features a Ground Lift if needed!
The Black Line series specifically targets aspiring bassists, making professional-grade tone accessible to players at all levels. The perfect choice for those who want to start with the right sound and have enough power for both rehearsals and gigs, it delivers a sound superior to any other practice amp at this price, thanks to Markbass tone and quality.
The Markbass CMB 102 Black Line represents exceptional value in the bass amplifier market. By combining 150 watts of clean, punchy power with intuitive controls, professional connectivity, and the renowned Markbass sound quality, it serves as both an excellent entry point for new players and a reliable workhorse for experienced bassists. Its thoughtful feature set and practical design make it a compelling choice for anyone seeking a versatile, high-quality bass combo amplifier that can handle everything from bedroom practice to small venue performances.
BRAND: KRK
PRODUCT: Kreate 5 Powered Studio Monitor
DISTRIBUTOR: Jands
RRP: $349 each
REVIEW BY: Jamie Colic
The new Kreate line follows KRK's longstanding tradition of providing modern creatives with loudspeakers that represent the utmost pedigree in both sound reproduction and value. Geared towards the likes of musicians, engineers and content creators, the Kreate 5 are a two-way rear-ported powered speaker tailored to replicating every nuance of the source material with excellent clarity and accuracy.
Upon unboxing the Kreate 5s, I was immediately greeted with their black cabinet and yellow low-frequency driver combo, an aesthetic that I feel has become a signature of KRK.
As a matter of fact, It immediately took me back some years to when I was in the market to purchase my first pair of reference monitors, as at the time, and still today, it was pretty hard to look anywhere without a glowing recommendation for KRK's long-running Rokit line.
Nostalgia aside, I feel it is important to note that the Kreate 5 weigh in at about 4.5kg per speaker. This gives immediate credence to this model's build quality and structural integrity.
The vinyl-wrapped MDF enclosure and reinforced high-impact polystyrene faceplate mean that the Kreates don't feel like a cheap multimedia speaker dressed up as a studio reference monitor. No, the Kreate 5s emit an air of pedigree to them. Despite coming in at the budget end of the price spectrum, I'm confident that these monitors will stand the test of time when it comes to enduring the rigours of daily usage within a home studio.
Boasting a 5” low-frequency driver with a 1” tweeter handling high frequencies, the bi-powered rear-ported Kreate 5s pack a frequency response spanning 58Hz-40kHz (+/- 3dB). In terms of power, this 5-inch model packs 60 watts and a total dynamic power output of 128 watts. This, combined with a max SPL of 105dB, means that despite their bookshelf profile “10.20” x 7.28” x 9”, the Kreate 5s pack plenty of punch.
Incorporating the Kreate 5s into my setup was easy, with connectivity established by Balanced XLR, ¼” TRS combo/unbalanced RCA analogue audio inputs. The Kreate 5s also feature wireless input via Bluetooth, giving users a variety of ways in which they can input audio signal into the speakers without disrupting their main signal flow.
The back panel of the Kreate 5 is further rounded out with controls for system-level as well as level controls for both high and low frequencies. Additionally, KRK have taken the time to include a 4” foam pad for decoupling purposes. A handy addition for those who might not already
have these on hand, eliminating the requirement for an additional purchase.
KRK have implemented acoustic boundary conditions into the Kreate 5s design, as well as a variety of EQ tuning combinations. These effectively aid in correcting imperfections within your monitoring space. A feature that will be sure to benefit budding producers who are most likely working in untreated spaces, such as living rooms or bedrooms.
Powering up the Kreate 5’s results in a reassuring glow from the KRK logo on the face of the units, with their illumination signalling that the speakers are indeed powered up and ready to use. Each speaker is equipped with twin onboard amplifiers, one Class D amplifier for low frequencies and an A/B amplifier for high frequencies. KRK have also taken the time to incorporate precision limiters into the speaker's design, reducing the risk of any unwanted peaks being encountered whilst monitoring.
Having established all of this, how do the new KRK Kreate 5s sound in practice?
I took the time to put the Kreate’s through their paces with a number of daily tasks. These ranged from listening to music for leisure all the way through to critical listening applications, such as what is required for mixing and mastering audio for clients.
In all instances, the Kreate 5’s left a favourable first impression, always providing an honest and clear reproduction of the source material. I feel they manage to strike a good balance between consumer and pro, which I feel suits the target demographic perfectly. However, it's important to note that being a rear ported design, the Kreates perform better being moved away a bit further from the wall so as to prevent any unwanted low resonant buildup.
All this, combined with their competitive pricing, is sure to make the KRK Kreate line (that also includes the smaller Kreat 3 and bigger Kreat 8 monitors) a hit amongst an all-new generation of budding engineers and producers. Definitely worth a look for anyone who needs a reliable and trustworthy pair of reference monitors at a price that won't break the bank.
The Kreate line is rounded, meaning that if the Kreate 5s aren't the right driver size for your own applications, KRK has you covered.
Well, the team at LD Systems have done it again, delivering portability and flexibility to musicians and DJs who want quality sound. This time, it is their Maui portable PA system that has seen a new addition to the line-up, with the Maui 28 G3 Mix. You can stop looking now. This is the portable PA system you’ve been searching for, with all the boxes ticked, and a big SPL from a compact unit. Get ready for bigger sound, better connectivity, and simpler setups with the Maui G3 Mix range.
Whilst the range offers two models, available in both black and white housings, we’re focusing on the newest release today, as it’s the one many of you will want to get your hands on. The Maui 28 G3 Mix is the big boy in the range, packing a solid 2060-watt peak power capable of crystal-clear audio with a 127db maximum SPL. Put simply, this thing is louder than you would expect when you first look at the size. The narrow tower array has been carefully designed to give you the most air movement possible, without the bulk of larger boxes, and the 12” subwoofer housed in the base certainly ensures the low frequencies are not left behind.
Inside the tower, there are two 1” tweeters at the top. Then, an amazing mid-frequency array with twelve, yes, twelve, 3.5” midfrequency woofers running the length of the tower. They have filled up every inch within the framework to give you the fullest sound possible. It’s not just an empty plastic tube designed to make the unit look bigger or taller than what it is. This thing is fully loaded, and you can hear the results when you’re out front. With an audience that is seated or standing, the sound covers the room, so that no one misses out. And if you need more,
you can stereo link two Maui 28 G3 Mix units for an impressive front of house system.
Designed to deliver a cardioid pattern of sound dispersion, the clever internal baffling ensures that the audience right in front of the system hears just as well as those out to the side of the room. The space in between two stereo linked units is perfectly filled out, so there are no dead spots, except on the stage, so you’re not caught in a deafening feedback trap. This is helped with LD Systems BEM high frequency waveguide and mid-range phase plugs, which are key elements to the performance of these towers, yet cleverly hidden away behind the grill. The structure of these components ensures a smooth delivery of the high and midrange frequencies in the direction you need, with a smooth and silky crossover. The BEM waveguide ensures the high frequencies are dispersed vertically, to cover the room, so those in the front row don’t suffer from a bass heavy mix. At no point is there a lack of definition.
The real genius with the Maui 28 G3 Mix in is the back, with its integrated 6-channel digital mixer. With a range of connection possibilities, including XLR, TRS and Bluetooth, you can build the mix to a basic level from the physical controls on the rear of the subwoofer, or deep dive with the included app using a tablet or smartphone as the interface. It’s available for iOS or Android, of course, so no one’s left behind!
Here, you have a full host of features that can be accessed, including powerful DSP effects, the likes of which you don’t usually find on a portable PA system. Effects and monitor levels can be easily assigned to each channel, so you can build a foldback mix as well as a front of
BRAND: LD Systems
PRODUCT: MAUI 28 G3 MIX Portable PA System
DISTRIBUTOR: Link Audio
RRP: $2999
REVIEW BY: Rob Gee
house mix, and apply effects to each channel as you need.
In Expert Channel Mode, you are able to make use of compression, gate, EQ and other features independently for each channel. And it’s not just a simple 3-band EQ with a vague preset mid-range curve, no. You get a full parametric-EQ with a visual interface on the touchscreen that will be familiar to anyone who uses computer recording software. You can really narrow in on the shape of the sound with the visual display, as you let your ears tell you what works.
Then, you can save your mix settings for easy recall at the next gig, and even store different mixes for different venues, so you can have your PA tuned into a room in a matter of moments, making bump-in all the more enjoyable.
When running two Maui 28 G3 Mix systems in stereo with the Syslink feature, you not only double up on the speakers and the power, but on the inputs too. This allows you to connect more microphones or instruments to the system as you have additional physical inputs. The Maui G3 Mix app then allows you
to bring all inputs together into the one digital mixer (in both Expert and Easy Modes) so you can build bigger and fuller mixes.
Now, anyone on stage can take the role of the front of house engineer, the foldback engineer, and the stage tech, all at once— with the mixing desk hidden away in their pocket! This makes it easy to adjust the main or monitor mix at any stage during the night. Additional options for music streaming playback from Bluetooth devices can also be controlled at this point, so you can take control of the entire evening.
The LD Systems Maui 28 G3 Mix is the portable PA system that is going to make your friends jealous, and leave your audience wanting more. Big sound, easy setup and full control are what it’s all about. You need to hear one of these systems for yourself, so you can understand just how those 15 drivers all come together. So, get into your nearest LD Systems dealer today and demand a demonstration of the Maui 28 G3 Mix. Hearing it in operation will have you wanting one, or probably a pair!
My Rig: Adrian Cappaletti of Disentomb and Deliquesce
BY LEWIS NOKE EDWARDS
Adrian, thanks for taking the time. Both Disentomb and Deliquesce are filled with pretty demanding riffs, what do you look for in a guitar and bass to help you perform?
Thanks heaps for having me! I’ll usually look for guitars with a relatively thin neck, but not super thin like an Ibanez! I’ll usually find if it’s too thin I get wrist pains a lot easier, so a C or D shape neck is usually what I’ll go for.
If it’s a guitar it has to have a Floyd Rose, that’s non negotiable for me. What else? It has to be a 6 string, 24 frets, and the string spacing can’t be too close! If the strings are too close for my liking my heavy hand gets in the way fast, that’s definitely not what I need when executing riffs with all that string skipping!
Have you got a #1 guitar and/or bass for each band, and if so, what are they?
goes to one side, a TC Electronics Ditto Looper so I can loop the rhythm track under the solo on the other amp in real time, a Longamp Roxanne flanger, and lastly a standard Boss GE-7 through the effects loop.
With Deliquesce, it’s my Jackson SL2. It has everything I need and more in a guitar. As for Disentomb, I’m still rocking my David Ellefson Signature model. It’s a beast. It can take all the abuse it deserves!
Tonally, metal needs to be grinding and heavy, but the technicality of the music you play requires some additional articulation. How do you keep everything clear while adding weight and heaviness?
Practice practice and practice, I’ll usually play with just enough gain to make it enjoyable when getting things tight, my VHT Pittbull is perfectly unforgiving so it’s ironically a great practice amp haha.
When it’s time to be heard I’ll crank it up a bit. I never use too much gain though, just enough to fill out the space. I love the feeling of a super tight/ non-boosted amp even though some amps do require it, which is why I’ll usually tend to go with something that isn’t modern, for example my Mesa Mark III.
Do you find yourself reaching for many additional effects?
I’ve fallen head first into this rabbit hole fairly recently with effects... mainly because of Deliquesce’s live shows. There is a lot on the pedal board at the moment, its purpose is so I can do my best to emulate two guitarists.
A Bluguitar Amp 1 is the newest addition, it’s a whole amp! That goes straight into a cab, and I’ve got a Bigshot ABY pedal so I can run the Amp 1 and whatever backline is available simultaneously...
I’ll take a boost with me as well in the event that the backline may need a bit of help, that’s usually in the form of a Mesa Grid Slammer or Boss SD-1.
I’ve also got a Mimiq Doubler which magically splits one guitar into a stereo image, and I’ve recently put another TC Electronic pedal on there, the Quintessence Harmonizer so I can harmonise with myself up there!
Other than that I’ve got a delay to serve the solo sections which only
For Disentomb it’s as simple as it gets. A tuner and a Sansamp Bass Driver does the job! Occasionally I’ll bring a bass chorus to add a touch of depth as well.
Do you find the inevitability of performing this music live affects how technical you make it? Or do you just write the music and commit to learning it?
I just have to commit to learning it!
I’ll always and forever just write what sounds sick to me, I don’t think about a live setting too much when writing a song, although I’ll listen to it a thousand times and make sure the energy doesn’t fall off, usually that translates to a good set anyway if we do our job correctly!
You’re a producer and mixer as well, how do you think this affects your preference for tone, gear and practice routine?
I’ve learnt a lot over the years from producing and mixing. The one thing I always and still continue to fight is the tone I like to feel and the tone I like to hear in a mix. Let’s just say there’s a reason why Metallica used that tone on Master of Puppets and had to track it 4 or 6 times! It would be as thin as anything if it was just double tracked! I’ve experimented a lot with quad tracking and such, it’s always heaps sicker but also mega demanding when dealing with such dense music.
I’ll more often than not push for quad tracked guitars over double. If that’s the case I can use the tone I love to “feel”.
Otherwise, filling out the sound space with a bit more of a wet/boosted sound is the only way forward.
Either way, it needs to be tight if you want an exciting and lively feeling record, so of course being a producer and mixer has helped me and everyone I’ve worked for.
All comes down to the importance of being on top of the performance and getting it right at the source!
WORDS
VINTAGE-INSPIRED TONE WITH MODERN CLARITY
The PRS SE NF 53 is a fresh take on classic design, packed with modern power and precision.
Featuring a swamp ash body, bolt-on maple neck & 25.5” scale length, it delivers the punchy feel of a true player’s guitar.
Finished with signature bird inlays & gig bag included.
The secret weapon lies in its Narrowfield DD “S” pickups, articulate, dynamic and noiseless, offering rich lows, clear highs & effortless gain handling.
A steel plate-style bridge with brass saddles enhances tone and sustain, while PRS winged tuners ensure reliable performance.
