M A D E B Y M U S I C I A N S F O R M U S I C I A N S
MARCH 2015 #251
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CLIENT LIAISON
THE BENNIES
SPECIAL
PLUS: O B L I V I A N S , L U C A B R A S I , X A V I E R R U D D & T H E U N I T E D N A T I O N S ROAD TESTS: Music Man 112RD 50 Guitar Combo, Bugera G5 Infinium Guitar Head And Cab, Audio-Technica M70x Headphones, TC-Helicon Ditto Mic Looper, Godin Montreal Premiere Electric Guitar, OME Primrose Resonator Banjo
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CONTENTS
FORE WORD
GIVEAWAY
6
NEWS & TOURS
8
THE INDUSTRIALIST
10
PRODUCT NEWS
12
JURASSIC 5
18
INCUBUS
20
Sometimes you’ve just gotta go deep! You gotta go with the flow and go beyond what is expected. This month we do exactly that, with hosting our first ever hip hop cover on the supreme LA posse that makes up Jurassic 5. A super-group of lyricists and performers who visit this April for Bluesfest and a live group who have taken the humble microphone, MPC player, DJ decks and production software to the next level. No one can dispute their musicianship when seen live, I can attest (twice) to that.
OBLIVIANS CLIENT LIAISON
21
THE BENNIES
22
-
S P E C I A L
-
Rockers never fear, Incubus give us the lo-down on their new record while Oblivians take us through their live set ahead of their impending March dates. Local 80’s synthpop maestros Client Liaison drop the beat while hardcore punk rockers The Bennies and Luca Brasi scream their way onto our pages too. We also catch the softer musings of Conor Oberst and Xavier Rudd with his new band, The United Nations.
LUCA BRASI CONOR OBERST
24
XAVIER RUDD & THE UNITED NATIONS UNLEASH YOUR INNER ROCK GOD
AMPLIFIER SPECIAL PAGE 32
26
Join us as we explore the world of the guitar, bass and acoustic amplifier with some of the latest editions on the market. You’ll be sure to find a model to suit your needs and don’t forget the usual news, columns and road tests to get you through the heat of this Summer.
WHAT’S THAT SOUND KEYS ON THE DOWNLOW
28
BANGIN THE TUBS (D)IGITAL (J)OCKEY HOME STUDIO HINTS WHAT’S MY RANGE AGAIN?
31
AMPLIFIER SPECIAL
32
ROAD TESTS
38
GET SOCIAL:
P.S. Thank you to all the supporters who have been enjoying our new format. The response on the street has been absolutely fantastic with demand for more mags and noticeable increases in our pick-up rates across the board. We’ll continue to evolve both in the mag and online to make the best free music publication possible.
30
LUCA BRASI PAGE 22
CONOR OBERST PAGE 24
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JANUARY 2015 /
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DEVIN TOW PG. 38
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For more information on Mixdown Magazine contact: Aleksei on (03) 9428 3600 or email mixdown@beat.com.au
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PG.4 // MIXDOWN #251 // MARCH 2015
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GIVEAWAYS Bugera G5 Infinium Amp Head Giveaway
Last Month’s Giveaway Winner Sony DWZ Digital Wireless Pack So here we are, at the beginning of another month. That means it’s time to announce the winner of our Sony DWZ Digital Wireless Pack Giveaway. We had a whole bunch of entries this month, but unfortunately we can only have one winner. This month that lucky winner is Arcadia Tamarind from Bathurst, NSW.
This month we’re wrapped to be able to give our Mixdown readers the opportunity to win this awesome Bugera G5 Infinium Amp Head with thanks to our good friends at Galactic Music. This unit has the ability to give you a great all tube tone, and with the Morph EQ function, you can choose between classic UK and US tones, or find somewhere in between. It’s perfect for recording and practicing without the excessively loud volume. And yes, there is the option to get loud!
HOW TO ENTER: STEP 1. Like our Mixdown Magazine Facebook page www.facebook.com/ mixdownmagazine and like and share our Bugera G5 Infinium giveaway post. STEP 2. E-mail your full name and postal address to mixdownstaff@beat.com.au and answer the following question.
What is the maximum power output of the Bugera G5 Ininium Amp Head? a) 5 watts b) 15 watts c) 50 watts d) Infinite wattage (Hint – This product is listed in both our Product News and our Road Test sections of this very issue)
*This giveaway is for Australian residents only and one entry per person. For more awesome monthly Mixdown Giveaways, be sure to LIKE our Mixdown Magazine facebook page at www.facebook.com/mixdownmagazine and regularly check our Giveaways page on www. mixdownmag.com.au for your chance to win.
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E L E V E N WO R D S T H AT S PA R K E D A R E VO LU T ION
“Wait a minute, wait a minute, “Wait ay ominute, wait a minute, u a i n ’t he a r d n oth i n ’ y e t.” a i n ’t hewait a r d anminute, oth i n ’ y e t.” “Waity oauminute, y ou a i n ’t he a r d n oth i n ’ y e t.” E L E V E N WO R D S T H AT S PA R K E D A R E VO LU T ION
Al Jolson’s fi rst spoken words in The Jazz Singer mark the fi rst appearance
of synchronized dialogue feature-length picture. Art mirrored Al Jolson’s fi rst spoken wordsinina The Jazz Singer motion mark the fi rst appearance
life. Moviegoers truly in hadn’t heard anything likepicture. this before. And when of synchronized dialogue a feature-length motion Art mirrored did, theytruly wanted to hear The Jazz had less two life.they Moviegoers hadn’t heardmore. anything like Singer this before. Andthan when Al Jolson’s fi rst spoken words in The Jazz Singer mark the fi rst appearance minutes of spoken But it The sparked revolution nonetheless. they did, they wanteddialogue. to hear more. JazzaSinger had less than two of synchronized dialogue in a feature-length motion picture. Art mirrored minutes of spoken dialogue. But it sparked a revolution nonetheless. life. Moviegoers truly hadn’t heard anything like this before. And when SOUND CH A NGES EV ERY THING they did, they wanted to hear more. The Jazz Singer had less than two PicturesCH areApictures. Pictures with sound are SOUND NGES EV ERY THING minutes of spoken dialogue. But it sparked a revolution nonetheless. transformational. whywith Thesound Jazz Singer Pictures are pictures.That’s Pictures are
The Jazz Singer, 1927 The Jazz Singer, 1927
hit Hollywood like a seismic wave. its wake, transformational. That’s why The JazzInSinger SOUND CH A NGES EV ERY THING films have but disappeared. hit silent Hollywood like aall seismic wave. In its wake, Pictures are pictures. Pictures with sound are silent films have all but disappeared. transformational. That’s why The Jazz Singer hit Hollywood like a seismic wave. In its wake,
silent films have all but disappeared. Sound Changes Everything. Again. Sound Changes Everything. Again. The Jazz Singer, 1927
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NEWS & TOURS British India
Indie rock kings British India will hit the road this April in support of their new release, Nothing Touches Me. The band’s fifth album, due for release on March 13 (via Liberation Music) features lead singles ‘Wrong Direction’ and ‘Suddenly’. Joining British India on the national tour will be Adelaide’s punk exponents Grenadiers, along with emerging Perth four-piece Tired Lion. Tennant Creek’s favourite sons Unbroken Expanse will provide support for the Alice Springs and Darwin shows too. Already being talked about between the halls of music press around the country, this latest release could elevate the band into the ranks of one of the great Australian rock groups.
TOUR DATES APRIL 16 -THE GAP VIEW HOTEL, ALICE SPRINGS NT APRIL 17 - DISCOVERY, DARWIN NT APRIL 18 - THE GOV, ADELAIDE SA APRIL 23 - PADDY’S, ALBURY NSW APRIL 24 - ROMANO’S, WAGGA WAGGA NSW APRIL 25 - AREA HOTEL, GRIFFITH NSW MAY 1 - SOUND LOUNGE, GOLD COAST QLD MAY 2 - URBAN MUSIC FESTIVAL, CABOOLTURE QLD MAY 7 - CLUB 54, LAUNCESTON TAS MAY 8, 9 - REPUBLIC BAR, HOBART TAS MAY 15 - DUNSBOROUGH TAVERN, DUNSBOROUGH WA MAY 16 – CAPITOL, PERTH WA MAY 17 - NEWPORT, FREMANTLE WA MAY 22 - THE METRO, SYDNEY NSW MAY 23 - CAMBRIDGE, NEWCASTLE NSW MAY 29 - 170 RUSSELL, MELBOURNE VIC MAY 30 - WORKERS CLUB, GEELONG VIC
Forward Music Festival Guttermouth
You Me At Six
Live bands, DJ’S, drinks, camping and plenty of activities… sounds pretty good right? Forward Music Festival is the latest boutique music festival to pop up this year; however this one is a little more special. The festival is run by charity Small Help Big Hope, an organisation that believes in equality within society. SHBH are a not-for-profit charity that empowers underprivileged citizens to minimize barriers that hinder them from becoming active local and global citizens. 100% of all proceeds of the festival will go to Divine Word University to fund their education in order to get their health degrees so SHBH can treat villages for disease and serious sickness in the correct manner. Held at Ballyrogan, Victoria, the Line-up for the festival includes Jakubi, The Mcqueens, Eloji, Keesh, Chris Bullen, Djuro, Rob Lewis and many more. Tickets are on sale now.
British post-hardcore outfit You Me At Six are returning to Australia for a four date tour throughout April and May. Mixdown Magazine favourites, the band’s recent release Cavalier Youth has seen the five-piece enjoy sold out performances at renowned venues such as Wembley Arena amongst various European sold out tours. Taking the opportunity to perform to Australian audiences once again, they will take local angst-ridden punk outfit Luca Brasi (interviewed in this very issue) along for ride in all cities aside from Perth. Tickets on sale now, don’t miss out!
TOUR DATES 28–29 MARCH – FORWARD MUSIC FESTIVAL, BALLYROGAN VIC
Two years have past since Guttermouth bid farewell to Australian crowds with less than impressive performances which saw the inebriated front man Mark Adkins hit his lowest point of his career. However a lot can change in two years, and with Adkins cleaning up his act, Guttermouth are returning to their home away from home! In what has come as a shock announcement, Guttermouth have announced an Australian tour in April, with hints that they will be releasing new material exclusive to the tour. Catch Guttermouth less drunk and more coherent on one of the dates this autumn!
TOUR DATES APRIL 2 - CROWN & ANCHOR, ADELAIDE SA APRIL 3, 4 - THE BENDIGO HOTEL, COLLINGWOOD VIC APRIL 5 - BARWON HEADS HOTEL, BARWON HEADS VIC APRIL 6 - BAR 12, FRANKSTON VIC APRIL 8 - ENTRANCE LEAGUES CLUB, BATEAU BAY NSW APRIL 9 - MONA VALE HOTEL, MONA VALE NSW APRIL 10 - STUDIO SIX, SUTHERLAND NSW APRIL 11 - FACTORY FLOOR, SYDNEY NSW APRIL 12 - THE SMALL BALLROOM NEWCASTLE, NSW APRIL 17 - CROWBAR, BRISBANE QLD APRIL 25 - ROSEMOUNT, PERTH WA
TOUR DATES APRIL 28 -CAPITOL THEATRE, PERTH WA APRIL 30 - THE HI-FI, MELBOURNE VIC MAY 6 - METRO THEATRE, SYDNEY NSW MAY 7 - EVANS THEATRE, SYDNEY NSW
Everclear
Justin Townes Earle
Mötley Crüe
Pearls
U.S. power pop heavyweights Everclear are set to return to Australia to celebrate the 20th Anniversary of Sparkle and Fade. Lead by founder and songwriter Art Alexakis, the band are heading down to perform the ground breaking 1995 album in it’s entirety to Australian audiences. Throughout the 90s the band made waves with their striking knack for pop sensibility. A string of successive hits earned them scores of long time fans, both in the U.S and beyond. While on tour the band also plan to unveil some tracks from their forthcoming album Black Is The New Black, the bands first release on new label The End Records.
American troubadour Justin Townes Earle has announced more shows for his April tour with Sam Outlaw. Earle will be down to showcase his new album Absent Fathers, it’s companion piece Single Mothers as well as songs from his four previous critically acclaimed albums The Good Life, Midnight at the Movies, Harlem River Blues and Nothing’s Gonna Change the Way You Feel About Me Now.
Rock icons Mötley Crüe have confirmed dates for the Australian leg of their ‘Final Ever Tour’. The tour marks the end of an era for the band. With all four original band members signing a ‘Cessation Of Touring’ agreement that takes effect at the end of 2015, you can be sure that these performances will be the iconic groups last. To add to the spectacle, Mötley Crüe have confirmed legendary shock rocker Alice Cooper as their supporting act throughout the Australian leg.
Melbourne three piece Pearls have announced their new single ‘Pretend You’re Mine’, the first single from their forthcoming album of the same name. Pearls have made a name for themselves in their hometown, supporting notable touring acts including Kurt Vile, Marnie Stern and Sons & Daughters as well as local heroes such as Total Control, New War and Crime and the City Solution. In celebration of this release, Pearls will be launching the album in both Sydney and Melbourne in later March. Be sure to check out their dark, eclectic pop, rock’n’roll.
TOUR DATES MAY 7 – FOWLERS, ADELAIDE SA MAY 8 – THE CORNER HOTEL, MELBOURNE VIC MAY 9 - EATONS HILL HOTEL, BRISBANE QLD MAY 10 - THE METRO, SYDNEY NSW MAY 12 - SMALL BALLROOM, NEWCASTLE NSW MAY 13 - MONA VALE HOTEL, MONA VALE NSW MAY 14, ROSEMOUNT, PERTH WA
TOUR DATES APRIL 2,5 – BYRON BAY BLUESFEST, BYRON BAY NSW APRIL 3 – BOOGIE, TALLAROOK VIC APRIL 9 – GRACE EMILY HOTEL, ADELAIDE SA APRIL 10 – NORTHCOTE SOCIAL CLUB, MELBOURNE VIC APRIL 11 – THEATRE ROYAL, CASTLEMAINE VIC APRIL 12 – THE YARRA HOTEL, MELBOURNE VIC APRIL 14 – NORTHCOTE SOCIAL CLUB, MELBOURNE VIC APRIL 15 – THE BASEMENT, SYDNEY NSW APRIL 16 – NEWTOWN SOCIAL CLUB, SYDNEY NSW APRIL 17 – LIZOTTES, NEWCASTLE NSW APRIL 18 – ANITAS, THIRROUL NSW APRIL 19 – FRANKLIN BAR, HOBART TAS
PG.8 // MIXDOWN #251 // MARCH 2015
TOUR DATES MAY 12 – ROD LAVER ARENA, MELBOURNE VIC MAY 16 – ALLPHONES ARENA, SYDNEY NSW MAY 19 – BRISBANE ENTERTAINMENT CENTRE, BRISBANE QLD MAY 21 – ADELAIDE ENTERTAINMENT CENTRE, ADELAIDE SA MAY 23 – PERTH ARENA, PERTH WA
TOUR DATES MARCH 19 – GOODGOD SMALLCLUB, SYDNEY NSW MARCH 21 – THE CURTIN, MELBOURNE VIC
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NEWS & TOURS
Psycroptic
The Beards
Tkay Maidza
Lloyd Spiegel
Australian metal pioneers, Psycroptic, will release their sixth album, a self-titled array of progressive wizardry that has transcended far beyond their technical death metal roots this March. Following on from the bands first video in December for ‘Echoes To Come’, the band have released a second video for ‘Cold’. One of the metal world’s tightest live bands, Tasmania’s biggest musical export will take their crushing new opus to their eagerly waiting fans on a tour though 17 dates across the nation. Joining them on all dates will be New Orleans blackened thrashers Goatwhore and the who’s who of Australia’s burgeoning death metal scene.
The Beards are gearing up for one massive national tour! The Strokin’ My Beard Tour boasts a crazy 26 shows around Australia, with shows in far North Queensland and Alice Springs also just getting announced! 2014 was a busy year for the world’s most relentless beard-themed band. They managed to record yet another album of songs about beards (The Beard Album); embark on their biggest Australian tour to date; receive a second ARIA nomination; and play to packed rooms throughout Europe on two separate international tours. Now, The Beards are back in their homeland and set to sternly reiterate their steadfast message on their upcoming “Strokin’ My Beard Tour”. This exciting announcement coincides with the release of the band’s latest single, ‘Stroking My Beard’ - a track that showcases the catchy songwriting and irreverent sense of humour that the band has become famous for. Joining The Beards on the road will be Melbourne art-rock band The Stiffys.
Tkay Maidza has just announced a national tour to promote her latest single ‘M.O.N’. the first track from her forthcoming debut album. It hasn’t taken long for the rapper to become a known personality in the Australian music scene. She’s moved effortlessly form the charts of Hype Machine to the big stages of Falls Festival, Southbound and Laneway Festival. Joining her for the journey across Australia will be UV Boi and Joy. By the time we had this news piece she had already sold out a stack of shows, so see amended dates below.
With 22 years of touring, writing and recording, Australian Blues legend Lloyd Spiegel has squeezed more into 35 years than many do in a lifetime. To document the story so far, Lloyd Spiegel, drummer Tim Burnham and some special guests will perform a set list of his finest work for a live album in the Spiegeltent. Lloyd Spiegel has become one of this country’s leading Blues artists and most respected guitarists. Since age 12, Spiegel has toured the globe with frequent visits to Europe and the United States where he toured as guitarist for countless blues legends and supported the likes of Ray Charles, Bob Dylan and Etta James. More recently, Lloyd found commercial success in Japan, performing sold out concerts at Tokyo Disneyland regularly.
TOUR DATES MARCH 12 - AMPLIFIER, PERTH WA MARCH 13 - THE HI-FI, MELBOURNE VIC MARCH 14 - THE NEW DEAD FESTIVAL @ FOWLERS LIVE, ADELAIDE SA MARCH 15 - KAROVA LOUNGE, BALLARAT VIC MARCH 18 - THE BARWON CLUB, GEELONG VIC MARCH 19 - CLUB 54, LAUNCESTON TAS MARCH 20 - THE BRISBANE HOTEL, HOBART TAS MARCH 21 - WRANGLER STUDIOS, MELBOURNE VIC MARCH 25 - THE BASEMENT, CANBERRA ACT MARCH 26 - THE CAMBRIDGE HOTEL, NEWCASTLE NSW MARCH 27 - THE FACTORY THEATER, SYDNEY NSW MARCH 28 - CROWBAR, BRISBANE QLD
For a full list of tour dates, visit www.thebeards.com.au
TOUR DATES
TOUR DATES APRIL 10 – FLYRITE, PERTH WA APRIL 11 – JIVE, ADELAIDE SA APRIL 16 – GOODGOD SMALL CLUB APRIL 18 – WOOLLY MAMMOTH, BRISBANE QLD APRIL 23 – NORTHCOTE SOCIAL CLUB, MELBOURNE VIC
MARCH 13, 14 - WONDERLAND SPIEGELTENT, DOCKLANDS VIC MARCH 21 - BLUESTRAIN, QUEENSCLIFF VIC MARCH 22 - BURKE AND WILLS WINERY, GLENHOPE VIC MARCH 27 - CAMELOT LOUNGE, MARRICKVILLE NSW MARCH 28 - FOLK IN BROKE FESTIVAL, BROKE NSW
the new album
MARCH 27 www.mixdownmag.com.au
2CD AU edition features instrumental version
MIXDOWN #251 // MARCH 2015 // PG.9 nightwish.com
INDUSTRIALIST Three Strikes Proposed In Draft Code
Australia’s ISPs, content owners, record companies and film/TV studios came with a voluntary code to address up online piracy. The Federal Government had warned both warring sides to suggest their own ideas or else put up with its own (probably harsher) regulations. Both decided that the most effective way was to introduce a three-strikes approach, where someone accused of illegal downloading would be warned three times. Then their data would be handed over to rights holders and they could be sued. The voluntary code will be followed by 30 days of public discussion, and an approval by the Australian Communications and Media Authority by Sept.1.
Sheppard, Dz Deathrays, Grates, Medics, Up For Qld Awards
Sheppard, DZ Deathrays, The Grates, The Medics, The John Steel Singers, The Kite String Tangle, Dubmarine, Halfway and The Amity Affliction are among those up for the 2015 Queensland Music Awards. These are held on March 30 at the Brisbane Powerhouse, where winners in 21 categories will be announced. Also unveiled is the recipient of the Billy Thorpe Scholarship.
Temper Trap To Sue Over Cigarette Ad?
The Temper Trap’s management called in lawyers alleging that cigarette company Philip Morris International used a track on their global ‘Don’t Be A Maybe’ campaign that sounded similar to their 2008 hit ‘Sweet Disposition’. “We are disgusted by this blatant rip-off of the band’s music and it’s currently in the hands of our legal team,” it said. The ad, depicting young folks having fun, was banned in some countries for targeting a younger demographic.
Red Bull Academy Round Up
Red Bull Music Academy’s takeover of Studios 301 Sydney saw the likes of Flight Facilities, Seekae, Touch Sensitive, Vic Mensa, Izzi Manfredi of The Preatures, Nina Las Vegas and Jono Ma of Jagwar Ma get involved in collaborations, Q&A’s, recordings and workshops. It was held to mark the application phase for the 17th Red Bull Music Academy in Paris this year. Highlights included Q&A with Goodgod Small Club’s Jimmy Sing and Red Bull Music Academy Tokyo alumni Lewis Cancut, Mark Maxwell and Summer Disbray as well as FBi broadcasting sets from Touch Sensitive, DREEMS and Jensen Interceptor, Michael di Francesco (Touch Sensitive) and Lorna Clarkson on the broadcast of music, while Warp Records’ Aussie-based English electronic producer Mark Pritchard’s hands-on production workshop included the use of a metal saw as a musical instrument.
Indies Pissed With Samsung’s Milk Music Deal Last week’s arrival of Samsung’s radio streaming service Milk Music
has got the thumbs-down from the indie sector. Charles Caldas, of London-based independents’ digital rights agency Merlin, told Billboard that Milk Music’s initial range of content did not include those from larger indie labels. “Given the success our labels have enjoyed in the Australian market, I’m sure Australian consumers will notice that, and be disappointed at their absence.”
Amra Teams With Pro-Ject Audio For Record Store Day Oz
The Australian Music Retailers Association (AMRA)’s version of Record Store Day Australia (Saturday April 18) sees it teaming with Pro-Ject Audio Systems as the official turntable partner. Sales of Pro-Ject turntables grew 30% in the last 12 months. Sam Encel of Interdyn, which distributes Pro-Ject in Australia, said they’d be “working even more closely with the participating stores.” More information at www.recordstoreday. com.au.
‘Gig Buddies’ Launched
Gig Buddies is an admirable new initiative launched in Sydney this month. It is about volunteering to take people with learning difficulties to gigs to enjoy themselves. Most support workers clock off at 9pm, which obviously creates a problem with gigs. For more information see www.gigbuddiessydney.org.
Channel 31 Launching ‘The Musician Speaks”
Channel 31 (or Digital 44) has a new Monday night show from 7.30 pm called The Musician Speaks. The six-part series is created, produced and hosted by jazz singer Jade Leonard. It showcases acts in a lounge room situation, with the first season featuring jazz pianist Joe Chindamo, guitarist and tutor Doug DeVries, electro groove Cocoa Noire, award winning soprano Kathryn Radcliffe, folk pop band Forest Falls and jazz soul singer songwriter Arowe.
Perth’s Fly By Night Gets New Home
After 28 years at Fremantle Artillery Drill Hall, the Fly By Night Musician’s Club is moving to new digs at the 260-capacity Victoria Hall on High Street. Last year, the owners of the 500-capacity hall asked the club to vacate by March 11. The not-for-profit club was searching for alternatives that could provide spaces for band performance and rehearsals as well as for community use. At the last minute, the City of Fremantle offered it a year’s lease (with an option to extend for a further 12 months) to keep the club in the area. Meantime, tour and events promoter Sunset Events will move in this month to Drill Hall. It plans to set up a live music venue there.
Thundamentals and Space Bong Launching Own Labels NSW hip hop crossover act Thundamental will launch their own (as still untitled) label via a worldwide deal with Island Records
PG.10 // MIXDOWN #251 // MARCH 2015
Fo r c ontent sub missions to t h is colu mn ple ase e ma il to c elizer@nets pac e.net. a u
Australia / Universal Music Australia. DJ Morgs, Tuka and Jeswon come off a strong 12 months after their multi-nominated So We Can Remember album, culminating in three spots on the triple j Hottest 100 and the upcoming Elephant In The Room tour. Adelaide’s Space Bong is one of those behind False x Idol Records, an underground punk and metal DIY collective that will release records, tour acts and promote them. It covers black metal, doom, grindcore, crust, sludge and death punk, and inspired by philosophies as anarchism, existentialism, nihilism, deep ecology and Gaian philosophy. Upcoming releases are by Funeral Moon, Wounded Pig, Ross, Shadowold and Space Bong, with an official launch on Friday March 13 at Mad Mouse Alley in Adelaide.
Amphlett Lane Opens
After a 19 month campaign and a petition with 6386 names, the City of Melbourne unveiled Amphlett Lane in honor of the late Divinyls singer Chrissy Amphlett. It is situated in the theatrical and Chinatown district, with a mural depicting the singer in her schoolgirl stage costume. Lord Mayor Robert Doyle stated, “This will become a destination for music lovers, to remember a wonderful contributor to the world of music in Chrissy Amphlett.”
Survey: Sad Lack Of Females In Canberra Bands
A survey done of 280 Canberra bands found that only 16% of them feature women. The analysis was done by Sophie Chapman of Canberra feminist punk band Glitoris (they play naked onstage covered in glitter). Her data showed that 52% were in all-male bands, 15% were male solo artists, 2% were all-female bands, 4% were female solo artists and 27% were mixed bands. Of the mixed bands, 44% had only one woman. 15% were even male/female, 32% had more men and 9% had more women than men.
Hi Fi Bars To Be Sold Within A Month
The Hi Fi Bar venues in Melbourne, Brisbane and Sydney are expected to be sold by this month, says their administrator Simon Nelson, from Melbourne accounting firm Romanis Cant. The three went into administration last month after a dispute with a major creditor that could not be resolved. The three clubs continue to trade in the meantime for the “foreseeable future.”
Ice Offers Venue, Gear For Hire
The Information and Cultural Exchange (ICE) in Parramatta has a venue with multi-sized spaces and equipment for hire to meet, perform or work from at affordable rates. Hot desking is available for $20 a day. Full info at ice.org.au.
Cooking Vinyl Aust. Launches Rock Imprint
Cooking Vinyl Australia founders Stu Harvey and Leigh Gruppetta have set up an imprint Double Cross Records dedicated to rock and
heavy music releases from around the world for release in Australia. First releases are by Toronto’s Cancer Bats, England’s Gallows and Melbourne’s High Tension.
Vevo Hits 100 Million Monthly Streams In Australia
With more Aussies streaming videos on mobile, music video platform Vevo has broken the 100 million streams a month mark in this country. In January, it delivered 101.3 million streams. Much of the growth was due to mobile, which grew 81% from last year. Most streamed in January were Rihanna, Kanye West & Paul McCartney, Taylor Swift, Ariana Grande and Nicki Minaj. 46% of views were on mobile, 50% on desktop, 4% on connected TVs.
No Sleep ‘Til Eurovision
Petitions for Kylie Minogue and TISM to represent Oz at the Eurovision Song Contest saw TISM shoot off at the starting post with 10,000 signatures within days. Alas, Kylie has only a 100/1 chance, according to bookies William Hill, same as AC/DC. They give Sia 8/1, Iggy Azalea 9/1, and Chet Faker, 5SOS and Dannii Minogue 14/1. Delta Goodrem is given a 25/1 chance. At 50/1 are Hugh Jackman, Olivia Newton-John, Keith Urban and The Janoskians. INXS, Natalie Imbruglia and Holly Valance have a 66/1. Not featuring at all with the bookies was Alan Fletcher of Neighbours fame who put his hand up to represent us.
Want Help With Brisbane Gets Foundry Hub Brisbane gets a new creative hub called The Foundry in March. Based in Fortitude Valley, it includes a 300-capacity live room, a rockthemed bar and a collaborative space for 20 music businesses. There’s a dedicated room where touring musicians can crash for the night free and multiple rehearsal studios. It does not charge bands venue hire, and gives free use of quality backline.
Sa, Wa, To Cut Red Tape For Venues
The South Australian Government is legislating to cut red tape for hotels, clubs and restaurants through the state which showcase live entertainment between 11am and midnight. To be abolished is the current Entertainment Consent Application which specifies what days and times the music will be presented, and what styles of music are showcased. In the meantime, the West Australian Government plans to cut much of the red tape that is stopping live music and arts venues to get alcohol licenses. At the moment, police, bureaucrats and public health agencies are stopping new licences citing drunken antisocial behavior at such places.
Help Research On Entertainment Biz Problems Entertainment Assist’s threepart research into the pitfalls and challenges of working in the Australian entertainment has gone
into its second phase. The first was interviews with music execs. Now it’s looking at those working in the biz, like dancers, musicians, actors, comedians, circus performers, directors, producers, technicians and backstage workers, to participate online. They’ll ask about pitfalls, how people cope and what support is needed. Phase 3 will use the data for assistance in creating support and prevention programs. The study is done with the College of Arts, Victoria University.
Crowdfunding Campaigns?
Creative Partnerships Australia’s MATCH is a dollar-for-dollar matched funding program for artists and artistic groups up to a total of $10,000 per project. It is to help them identify and secure private sector support, assist their creative endeavors and build a sustainable arts practice. Applications close on March 9, with funded projects to be completed by June 30, 2016.
THINGS WE HEAR • A musician copped a $354 fine after he was caught veering over the West Gate Bridge in Melbourne while he was playing his trumpet. • The 2016 version of Soundwave will revert to a one-showper-city format and only play Brisbane, Sydney and Melbourne. Adelaide got the chop after only 12,000 tickets were shifted. Also, if Big Day Out returns in 2016, it would only play Auckland and the Australian East Coast. • More Sydney acts play Asia. Death metal five piece Daemon Pyre, head to Indonesia in June. They just released their debut album, produced by Shane Edwards with Psycroptic’s Jason Peppiatt on one track. Christine Anu spent a week in Vietnam, playing shows, conducting workshops with music students and visiting a charity supporting victims of domestic violence. • Sydney band 5 Seconds of Summer got Worst Band in England’s NME awards, beating nominees The 1975, One Direction, U2 and Bastille. • Triple j’s One Night Stand will take a break in 2015 as station staff are too busy with 40thanniversary events. • Rockin Australia is a threevolume book released via Starman Books which collects 2255 Australian music posters for festivals and clubs from the past 50 years. • Although the Australian and NZ dollars are at their lowest against the US buck in over five years, A/NZ registrations for South By Southwest in Austin, Texas, could beat last year’s tally of 750 delegates and 45 acts showcasing.
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NEW AT
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DITTO MIC LOOPER
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Till 31st March 2015 purchase the Ditto Mic Looper from and authorized Australian TC-Helicon dealer and you will be eligible to claim an MP-75 Microphone abosultely FREE! Visit tc-helicon.com/promotions for details.
PRODUCT NEWS GEAR
GOSS
Radial Engineering JX42 Guitar Selector Amber Technology | 1800 251 367 | www.ambertech.com.au
The Radial JX42 is a compact guitar and amp switcher made to handle up to four guitars and two amps simultaneously. Designed for concert touring, the JX42 begins with four radio-style switches that immediately turn the previous channel off when the new channel is selected. These are complemented with LED’s for visual feedback on dark stages. Inside, the JX42’s 100% discrete class-A buffering circuit ensures that fidelity is maintained. Each input channel also sports a recessed dual-function potentiometer that can be assigned as either a level control to match wireless systems or be set to Drag control for precise load correction when using passive magnetic pickups. There are two main stage amp outputs, with the B-output transformer isolated to eliminate hum and buzz caused by ground loops. Amp selection occurs via a front panel AB selector or by connecting the optional JR2 remote footswitch. These features make the JX42 a great choice for stages and studios alike.
Radial Engineering J48 & JDI Stereo Amber Technology | 1800 251 367 | www.ambertech.com.au
Radial has just announced two-channel versions of their most popular active and passive DI boxes. The J48 Stereo features the same signal path and unique switching power supply as the original. This allows for increased headroom along with the ability to lift the audio ground without losing phantom power. The JDI Stereo is a simple 2-channel version of the original. The JDI stereo saves space and offers simplified connectivity compared to the Duplex, but the same Jensen transformers that made the JDI famous can be found inside, eliminating hum and buzz while handling excessively hot levels with ease. Best of all, the J48 Stereo and JDI Stereo are built using the same rugged enclosure as their single channel versions, saving space and the need to tape boxes together.
Audio-Technica M70x Monitor Headphones Technical Audio Group | (02) 9519 0900 | www.tag.com.au
The ATH M70x’s are engineered to be Audio-Technica’s flagship closed back critical listening and monitoring headphone. They’re designed to reproduce extreme low and high frequencies whilst maintaining a perfectly flat balance. As a headphone for “enjoyment” purposes, the M70x’s will shred all of your beloved music to pieces, but as a tool for professional use the M70x’s are as trustworthy and critical as it can get. The M70x’s have just been released in Australia. A must see for producers that take their work seriously.
Istanbul Mehmet Tony Williams Tribute Cymbals Dynamic Music | (02) 9939 1299 | www.dynamicmusic.com.au
Dream Cymbals and Gongs 8” Splash Cymbals Dynamic Music | (02) 9939 1299 www.dynamicmusic.com.au
Dream have announced the release of their new 8” splashes in 3 exciting flavours. These splashes are fast and bright like little firecrackers. The Bliss, Contact and Energy versions stay true to the characteristics of their respective families: Bliss is warm in sound, Contact is brighter and Energy is more powerful with a distinctive sustain that captured many ears at the 2015 NAMM show. They feature tapered lathing so that the edges are thin, resulting in a cymbal with fast attack and quick decay perfectly suited for their size. The new Dream 8” splashes will be available this month.
PG.12 // MIXDOWN #251 // MARCH 2015
Istanbul Mehmet have announced the introduction of a much anticipated set of cymbals created in tribute to legendary drummer Tony Williams. Created as faithful replicas of the now iconic cymbals made famous by Tony Williams on the recordings of the 60s era Miles Davis Quintet, these exclusive new cymbals will be made available initially as limited edition numbered sets. Enormous attention to detail was paid during their creation, with every minute aspect of the cymbals’ design; profile, taper, size, and weight. being scrupulously measured and factored to ensure that the new, hand made cymbals be as close in sound as possible to the originals. Hand-made in Turkey using the same techniques passed down from generation to generation of cymbal artisans, the Istanbul Mehmet Company has faithfully recreated what is arguably the most famous and most desired cymbal sound of all time. Available now, the Tony Williams Tribute Cymbal Limited Edition set features 22’’ Ride, 18’’ Crash and 14’’ Hi-Hats together with a deluxe leather cymbal bag, a selection of rare Tony Williams photographs and a certificate of authenticity.
• Eliminating noise has never been easier! The Radial Ice Cube IC-1 features simple XLR in and XLR out connector with a premium Eclipse audio transformer inside. No power needed. This passive device accepts line levels up to +10dB and gingerly eliminates hum and buzz caused by ground loops without introducing harmonic distortion, phase shift or causing bass frequencies to suffer. The IceCube features a solid steel construction to handle the rigors of touring while providing excellent shielding against external magnetic fields. • Sennheiser has unveiled the SpeechLine Digital Wireless, the world’s first wireless digital microphone to be designed exclusively for speech applications. Installation, operation and adjustment are easier than those of any other microphone. Once the microphone has been configured, users do not require any audio knowhow – it is already built-in. This enables speakers to focus entirely on their speech during meetings, lectures or presentations instead of having to think about the microphone they are using. • Radial has announced the release of the StageBug SB- 48 UB. This unique phantom power supply uses standard 15V supply to generate 48 volts, enabling the artist to use a condenser microphone or active DI on the guitar, upright bass or mandolin. A choice of standard balanced or unbalanced outputs allows the player to connect a condenser microphone to a Radial PZ-Pre or PZ-Deluxe or any other typical unbalanced instrument input. • ETC Eos has carved its niche as the benchmark theatrical console in Australia, and there has never been a better time to improve your skills. Jands are offering a one day intermediate to advanced training course that will take you through the console from a programmers viewpoint, providing a more in-depth look at operation and
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PRODUCT NEWS working with multiparameter devices on an Eos family console. They will have Ion, Gio and Eos Consoles in the room so they will accommodate all flavours of EOS. For more information visit www. jands.com.au. • Framus Guitars have a unique place in musical history with some of the most well known musicians of all time opting to play the guitar. Elvis, John Lennon, David Bowie, Paul McCartney and Keith Richards are just some of the musicians that used Framus in the past. To celebrate their place in history, Framus have announced the arrival of the Legacy series. Coming in four basic models: Dreadnaught, Folk, Grand Auditorium and Parlor, these guitars come to the market with the best possible price/performance ratio and they sound great. • Warwick Music has just revealed the brand new RockBoard product line. A wide range of high quality and low priced products for musicians, to organize and carry their effects
OB1-300
Crush 35RT
Orange Amplification Crush Amplifier Series Gibson AMI | (03) 8696 4600 | www.gibsonami.com.au
Orange has announced their latest combos with the launch of the new 2015 Crush series. Redefining the benchmark for practice amplifiers, the Crush 12, Crush 20, Crush 20RT and Crush 35RT (pictured) are primed to introduce guitarists of all levels to the signature Orange sound, whilst offering a genuine alternative to digital modelling. Building on the success of the critically acclaimed Crush Pro range, Orange has opened up the same high gain, four stage preamp design to the new Crush series, capturing the Dirty channel of their iconic Rockerverb in solid state form. Combined with Orange’s custom Voice of the World TMspeakers, the new Crush deliver gut-punching tones with highly responsive overdrive, and levels of detailed saturation never before heard in a practice amplifier. RT versions feature onboard reverb and an integrated chromatic tuner. The Crush 35RT also includes a fully buffered low-impedance effects loop and more than enough output for the rehearsal room.
Orange Amplification OB1 Series Bass Amps Gibson AMI | (03) 8696 4600 | www.gibsonami.com.au
Orange Amplification has introduced the OB1 Series of class A/B rack mountable bass amplifier heads with the OB1-300 (pictured) and OB1-500 at NAMM 2015. The OB1 splits the input instrument signal into two separate, totally analogue paths. One side amplifies the clean signal, with all the clarity and responsiveness you would expect from Orange. The other adds two stages of gain and increased harmonic content to the upper frequencies, controllable via the amp’s Gain knob. These two elements are combined using the amplifier’s footswitchable Blend control which adjusts the mix between clean and dirty. The overall sound can then be fine-tuned using the active three-band EQ. The results are truly inspired – a tight, thunderous low end fused with a brutal but versatile gain circuit that maintains definition even at extreme settings. Depending on where the Gain and Blend controls are set, the possibilities are limitless. Punch in the Blend control to achieve anything from a transparent clean boost, to all-out filthy grind, and everywhere in between. The OB1 is available in both 300 Watt and 500 Watt versions (both 19” 2U), each featuring balanced DI and line level outputs and Orange’s classic ‘Pics Only’ styling.
The next generation G5 INFINIUM
5-Watt Class-A Tube Amplifier Head with INFINIUM Tube Life Multiplier, MORPH EQ, Reverb and built in Power Attenuator 5W, 1W and 0.1W www.mixdownmag.com.au Proudly distributed by Galactic Music - www.galacticmusic.com.au
MIXDOWN #251 // MARCH 2015 // PG.13
PRODUCT NEWS EarthQuaker Devices The Sea Machine Global Vintage | (02) 9569 7009 | www.globalvintage.com.au
Peavey 6505 MH Mini Head Guitar Amplifier Music Link Australia | (03) 8696 4600 | www.musiclink.com.au
Music industry innovator Peavey Electronics has announced the release of the 6505 MH mini head guitar amplifier. The newest addition to Peavey’s celebrated 6505 series, the all-tube 6505 MH authentically produces the legendary tones of the Peavey 6505 in a small and portable package. The 6505 MH has two channels that follow the same gain structure and voicing of its iconic big brother to produce the devastating, overdriven tones that have defined the sound of modern metal music for more than two decades. The channels share EQ, lush reverb and an effects loop. Channels, crunch, effects loop and reverb are all footswitchable. Rear panel features such as an effects loop, Microphone Simulated Direct Interface (MSDI) with XLR output and USB out, speaker defeat switch and a 3 position power attenuator switch make the 6505 MH an ideal tool for recording or use in smaller venues.
Peavey Classic 20 MH Mini Head Guitar Amplifier Music Link Australia | (03) 8696 4600 | www.musiclink.com.au
Leading musical instrument and audio equipment manufacturer Peavey Electronics have unveiled the Classic 20 MH mini head guitar amplifier, the latest addition to Peavey’s timeless Classic series. Revered by blues, country and rock players alike, Peavey Classic amps span the tonal landscape from vintage to contemporary with ease, and the Classic 20 MH mini head provides that tone in a highly portable package. The all-tube, 20-Watt Classic 20 MH is powered by two EL84 power tubes and three 12AX7/ECC83 preamp tubes. It has two channels that follow the same gain structure and voicing of the Peavey Classic series amps for pure and versatile tone. Peavey’s TSI™ tube monitoring alerts players of power tube status, and in the event of a necessary tube replacement, identifies which tube needs to be replaced.
Sennheiser MK 8 Microphone Sennheiser Australia | (02) 9910 6700 | www.sennheiser.com.au
The Sennheiser MK 8 microphone is a condenser microphone that’s perfectly suited to both home recording and project studio applications. No matter which desk you use it through, the MK 8 matches the input sensitivity with a 3 step attenuator. Two adjustable filters compensate for the proximity effect as well as low frequency rumble or structure born noise. People that take pride in getting the best quality audio they can in their projects are going to want to take a look at the MK 8.
PG.14 // MIXDOWN #251 // MARCH 2015
The Sea Machine is a chorus pedal with ultimate control over parameters rarely seen in a chorus. A hybrid of digital and analogue circuitry with a slightly extended delay time allows it to really stand out and shimmer. The heart of the Sea Machine is a short digital delay line, which features controls for Animation, Dimension and Depth. The Animation allows control over the delay time, Dimension adjusts the amount of spatial regeneration and the Depth adjusts the mix of the modulated wet signal against the dry analogue signal. The LFO section of the Sea Machine is comprised of Rate, Intensity and Shape. The Rate adjusts the speed of the oscillator, the Intensity adjusts how much the LFO modulates the delayed signal and the Shape transforms the wave from a soft triangle to a hard square wave. Included is a small LED, which shows the speed and shape of the LFO, even in bypass. With this mix of standard and unique controls, everything from subtle warble, classic Leslie, seasick pitch bends to strangled alien sounds, stunted arpeggiations and many more far out sounds are on tap. The Sea Machine also was designed to work well following fuzz, distortion or overdrive without getting muddy, reducing volume or breaking up. When engaged, the transparent buffer leaves the all-analogue dry signal unaltered and crystal clear. The Sea Machine is true bypass and made by human hands with the highest quality parts in shimmering Akron, Ohio.
Park Amplification Park Fuzz Sound Global Vintage | (02) 9569 7009 | www.globalvintage.com.au
The Park Amplification company, originally started by Jim Marshall himself, has almost as much history as the actual Marshall name. As the story goes, Jim Marshall entered a distribution deal for his amp line in 1965, but the terms of the deal were vague enough that Marshall could build amps on the side, just not under his own name. Thus, Park was born, and the amps produced under that name were slight variations on Marshall circuits, until the company dissolved in 1982. Among the line of amps, a few pedals were also produced. Most of them were wahs or variations thereof, but one pedal stuck out: The Park Fuzz Sound. The original pedal featured unlabeled TO-1 package transistors, so one would think that the circuit left us with Jim Marshall. However, the good folks at Earthquaker Devices, in collaboration with the newlyresurrected Park Amplification have faithfully recreated the pedal. The new Park Fuzz Sound is hand-made, one at a time in exotic Akron, Ohio. The pedal is wired for true bypass and accepts a standard 9v center-negative Boss-style power adapter. The current draw is low, so it’s ready for your isolated power supplies.
professionally: pedalboardsets with robust aluminium-pedalboards from 35 cm to about 100 cm length, highquality bags and cases with excellent storage possibility, accessories, such as power-kits, or the “Step Up’s” for effects pedals, a worldwide usable multi power station with 8 outputs, LCD-display, and much more. All RockBoard cases and bags are available separately. • Audio specialist Sennheiser is launching MobileConnect, which provides live audio streaming to mobile devices for the very first time. The universal system uses a wi-fi connection to stream lip-sync audio content to the user’s smartphone, which has an app that instantly converts it into a mobile receiver. Applications are unlimited: whether it is in a theatre, a museum, a sports stadium or a company – MobileConnect can be quickly and easily installed and is also cost-efficient in use. MobileConnect consists of a streaming server and a specific wireless LAN router. And the user-friendliness of the system is not limited only to the front end: MobileConnect can be installed in a few easy steps and is ready for use immediately. • In other news for Sennheiser, this year the audio specialist is celebrating its 70th anniversary. It remains a family-owned and -operated enterprise, now headed by a third generation of the Sennheiser family. Today’s CEOs, Daniel Sennheiser and Dr. Andreas Sennheiser, are the grandchildren of the company’s founder, Prof. Dr. Fritz Sennheiser. • Analogue Solutions has announced the availability of its all-new Nyborg-12, and Oberheim SEM-style 2-Pole 12dB/Octave multi mode synthesizer. An analogue renaissance has shifted the one-time state-of-the-art sounds of analogue synthesisers back into the minds of the modern musician. Why? Well, many musicians realised that the convoluted menu-driven access systems deployed on many ‘modern-day’
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PRODUCT NEWS digital synthesisers with weaker sounds bathed in built-in effects are no substitute for the hands-on immediacy older synthesisers and their powerful electronic sounds suited to a variety of musical genres. As far as analogue synthesizers go, few are as well equipped and capable as the Nyborg-12. It’s sure to make waves in the synthesizer market. • Music industry innovator Peavey Electronics is set to introduce the 6505 MH mini head. The newest addition to Peavey’s celebrated 6505 series, the all-tube 6505 MH authentically produces the legendary tones of the Peavey 6505 in a small, portable package. The 6505 MH has two channels that follow the same gain structure and voicing of its iconic big brother to produce the devastating, overdriven tones that have defined the sound of modern metal music for more than two decades. The channels share EQ, lush reverb and an effects loop. Channels, crunch, effects loop and reverb are all footswitchable.
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THIS MONTH’S GIVEAWAY! PAGE 6 FOR DETAILS
Bugera G5 Infinium Guitar Amp Head Galactic Music | (03) 8813 0241 | www.galacticmusic.com.au
With just five watts of incredible tube tone, the Bugera G5 Infinium guitar head is the perfect amp to pull a superb high gain sound at low volume. Great for smaller gigs where you don’t need a tonne of power but can’t afford to sacrifice tone, the classic push/pull Class A design generates balanced harmonics and tube compression, giving you the sound that only a tube amp can reproduce. Plus, the Bugera G5 Infinium’s Morph EQ gives you the best of American and Britishstyle EQs (or anything in between) making it a very versatile amplifier for all styles of playing. Add to that classic reverb and a built-in power attenuator (0.1, 1 or 5 watts) to get true tube tone at any volume. The Bugera G5 Infinium guitar head offers incredible value. Check out the review of the G5 in this month’s road test section and our Giveaway on page 6 for your chance to win one yourself.
Mojo Ukuleles Jade Australia | 1800 144 120 | www.jadeaustralia.com.au
The new Mojo series offers a range of beautifully created Ukuleles with stunning craftsmanship and a rich, warm sound. With high quality geared machine heads and Aquila strings for superior tone and stable tuning, these Ukuleles come in a range of superior quality timbers including Indonesian Koa, Mahogany, Rosewood and Zebra Wood. Perfect for the seasoned ukulele player or the budding beginner, these new Mojo Ukes come with an optional passive pickup, a high quality gig bag and are available in classic soprano, concert and tenor styles.
MIXDOWN #251 // MARCH 2015 // PG.15
PRODUCT NEWS Bolero QM: Night Sky
Behringer X AIR XR18 Galactic Music | (03) 8813 0241 | www.galacticmusic.com.au
Hailfire EX: Room of Tears
Behringer have released their highly anticipated X AIR XR18 Digital Mixer for iPad and Android tablets. The revolutionary XR18 is a remotely-controllable 18-input/12 bus portable mixer housed in an extremely sturdy stage box form factor, and is the first of its kind designed for use with iPad and Android tablets, as well as smartphones and PC, Mac and Linux computers. XR18 is ideally suited for both live and studio applications, thanks to 16 award-winning Midas-designed mic preamps, a convenient integrated tri-mode Wifi module for wireless control – and a lightning-fast, bidirectional USB audio/MIDI interface. Other features include: 4 high-end X32 stereo FX processors, with close to 50 studio-grade X32’s high-end FX “Plug Ins”; X AIR Gain Sharing technology for hands-free auto-mixing; a high-resolution 100-band Real Time Analyzer (RTA), with full bar and spectrograph views, and Ultranet connectivity for Behringer’s P-16 Personal Monitoring System.
Monarch EX: Ice Blue
Maverick SM: Transparent Blue
Diamond Guitars Dynamic Music | (02) 9939 1299 | www.dynamicmusic.com.au
Ernie Ball Slinky Flatwound Bass Strings CMC Music Australia | (02) 9905 2511 | www.cmcmusic.com.au
2015 is destined to be ‘The year of the Flat”. For years, even though they love the feel of flatwounds, many bassists have opted to set up with roundwound strings in order to pull brighter, more cutting tones. Ernie Ball has changed that game. Ernie Ball’s breakthrough Slinky Flatwound Bass Strings combine the smooth feel of traditional flats and the modern power and tone of Cobalts. Featuring a Super Bright Cobalt Ribbon wrap, Cobalt Underwraps and optimal hex-core to wrap ratio, the new Flatwound Bass strings are the first flat that actually feels like a flat and sounds like a round. These must be heard to be believed.
Since launching in 2008, Diamond Guitars has introduced some of the most eye-catching instruments in the industry, quickly garnering the attention of players like John Corabi, Kid Rock’s Jason Krause, Train’s Jerry Becker, Kelly Pickler’s Josh Henson and the late Mike Scaccia of Ministry. The company’s latest line up attracted huge interest at this year’s NAMM conference and will soon arrive in Australia, distributed by established leader in the guitar field Dynamic Music. Diamond guitars offer ultimately much more than their flashy looks might suggest. Their lightweight, balanced construction alone make them a winner in a world that’s constantly demanding lighter, more comfortable guitars, and the solid build and Seymour Duncan or Diamond design pickups are capable of handling everything from jazz to rock, blues, country, metal, and beyond.
Behringer X18 Digital Mixer Galactic Music | (03) 8813 0241 | www.galacticmusic.com.au
Ernie Ball Classic Jacquard Series Guitar Straps CMC Music Australia | (02) 9905 2511 | www.cmcmusic.com.au
The world’s #1 Polypro strap is now also available in five stylish new designs for 2015, featuring striking embroidered strapping, leather ends and durable yet comfortable polypropylene web backing. These new straps are the same super long (extendable up to 180cm), super comfy Ernie Ball straps that guitarists and bass players have come to rely on. Now though, they come with the addition of the eye catching Jacquard weaves.
PG.16 // MIXDOWN #251 // MARCH 2015
Behringer’s cutting-edge X Air digital mixers integrate with your iOS, Android, Mac or PC devices. Imagine having full control of your mix from an iPad, whilst the band members monitor their own mix from their iPhone. Plug in your mic and line level sources and mix from anywhere in the venue or studio via the free remote control app. The X18 is an 18-channel, 12 bus digital mixer with 16 programmable MIDAS-designed microphone preamps, Behringer’s renowned X32 effects rack, a 100-band Real Time Analyzer on all channel and bus EQs, an 18 x 18 USB interface, and integrated Wi-Fi module, all in a convenient portable enclosure. Just add mics, and you’ve got everything you need to mix a live show. And guess what, the X18 Air mixers record pristine multitrack audio straight to your DAW. The Behringer X18 is another game changing product from Behringer.
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PRODUCT NEWS
Series 808
Series DC
Series D
Audio-Technica AT5045 Condenser Microphone
Maton M-Series Guitars
Technical Audio Group | (02) 9519 0900 | www.tag.com.au
Maton Guitars | (03) 9896 9500 | www.maton.com.au
Audio-Technica’s new AT5045 is a two-element version of the remarkable four-element AT5040, and a very significant addition to the flagship 50 Series range. Hand crafted in Japan, the AT5045 is a ‘pencil-type’ large-diaphragm, electret, side-address, condenser instrument microphone with a cardioid polar pattern that captures audio with profound realism and depth. Its characteristics include fast transient response, low noise, the ability to handle high sound pressure levels (149 dB SPL40) and one of the widest dynamic range specs available (141 dB). These specs make the AT5045 an ideal instrument microphone, perfect for overheads, percussion, acoustic guitar, strings and other acoustic instruments in professional studio applications.
Some things in life were simply made for each other. Like Ying and Yang, they move effortlessly together and compliment one another perfectly. One such beautiful pairing is the unparalleled craftsmanship of the folks over at Maton guitars and the rich beautiful textures and tones of Sapele. When the two come together it’s a beautiful sight. Maton are presently putting together a couple of these classy instruments that offer a darker and heavier mid-range than their non Mahogany counter parts. The M-Series guitars feature Sapele face, back and sides with a Mahogany neck and Rosewood bridge. All the M-series come equipped with the AP5 Pro. Beautifully finished and fully voiced, these guitars are as outstanding to look at as they are to play.
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MIXDOWN #251 // MARCH 2015 // PG.17
C O V E R
S T O R Y
From their debut in 1993 to their demise over a decade later in 2007, Jurassic 5 was a powerhouse in authentic, old-school hip hop. It was to the wider community’s dismay that they parted ways, citing “musical differences” between members, but fans of the group were kept satiated with solo releases from the various MCs and DJs that make up Jurassic 5. To the delight of the hip hop world, they reunited in 2013 and last year released a track that had been dormant for almost a decade due to copyright issues with the sample of The White Stripes’ ‘My Doorbell’, which now-deceased producer Heavy D used as a base for the track. Now, in 2015, the group that gave us five incredible hip hop albums and many well-received tours will bring their formidable live show to Australia once again. MC Akil gives us insight into what makes J5 tick. Tell us about your influences. I’ve got an old soul so I’m an old school soul fan. Marvin Gaye. Stevie Wonder. I’m all around the board a little bit. Sometimes somebody creates something today that makes you want to listen to that sound and even create stuff right there and then, but once everything starts to sound cookie cutter, you know what will never fail you is some old music. And I always go back and discover something new that’s old. Nothing’s ever really old if you’re just discovering it. It can be from the 1800s. If you discover it now, it’s new. Are there any songs you’ve always secretly wanted to sample? Equipment-wise and technology-wise, in the past it was harder to get samples from certain records because sometimes it’s recorded live so the drummer is slowing up a little bit or it’s harder to take that out and make it loop up. But now technology is so up to speed, it’s nothing to go and take songs, like part of an Isley Brothers song for example, that you couldn’t do back then. I listen to a lot of old soul, so with these songs that I hear now, as I get older I realize how to manipulate music and lyrics and rhythm on songs, whereas back then I wouldn’t have rapped to some of that music. Now you can almost rap on anything, but it didn’t used to be like that. Back then we were just looking to funky stuff, with a one-two beat, but now the timing on it can be different. We know how to perform, so when I hear certain songs from the past I’ll try to do something with it. You’re known to put on a crazy live show. What gear do you need to make it all happen? It’s just mics and turntables, a drum machine here and there. My DJs, they have a set where they pull out a big turntable, a super huge turntable that they travel with. They have drum machines
PG.18 // MIXDOWN #251 // MARCH 2015
Nothing’s ever really old if you’re just discovering it. It can be from the 1800s. If you discover it now, it’s new.
that they created to look like a guitar turntable type thing, stuff like that. That’s just something that they created for the shows, just being authentic. Most part it’s just basic, turntables and mics. Real hip hop. Not too many bells and whistles and all that. There are so many members of Jurassic 5. You must be like trapeze artists working together to create a song. In hip hop you talk to people and you will know what level they are by mentioning, “Have you heard of this?” And they’ll be like, “Yeah I’ve heard of that, that’s my sound!” But then some people will be like, “Nah, I ain’t heard that, I ain’t heard that,” and then you know what level they’re at. It’s not a dis or anything, it’s just a gauge of where someone’s at. You can tell the authentic people from the not-so authentic people based on their experiences and what they know. So everyone in our group came from that same background. We’re all the same age and grew up with the same music. We grew up on the ‘authentic’ so we’re able to draw from things that aren’t so cookie cutter. People know, even if they don’t know that it’s not authentic, they can tell that it’s different. And it comes from our experience. I know you have a lot planned for the next year, so what can we expect? Our main objective is to get back out there touring. We’re a touring group and always have been a touring group. We have recorded albums in the past, but the transcendence of those albums happens when we’re on stage. A lot of people have never seen us perform and it seems amazing so we’re feeding that audience who has always wanted to see us, and the people that have been missing us. We have a few live recordings that we’re working on putting out there and a lot of visuals and stuff. We’re putting together a hodge podge of things that we’ve already created in the past that never came out. Because with us, we’ve always came out dated in the first place. We’re an old school group so it doesn’t matter if our music’s dated! BY MATHEW DROGEMULLER Jurassic 5 play Byron Bay Bluesfest on Sunday April 5 and the following sideshows:
TOUR DATES MARCH 26 - PANTHERS, NEWCASTLE NSW MARCH 27 - WAVES, WOLLONGONG NSW MARCH 28 - ENMORE THEATRE, SYDNEY NSW APRIL 1 - FESTIVAL HALL, MELBOURNE VIC APRIL 2 - HQ, ADELAIDE SA APRIL 4 - THE TIVOLI, BRISBANE QLD
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W W W . A U D I O - T E C H N I C A . C O M . A U
NEW ATH-M70x FLAGSHIP PROFESSIONAL MONITOR HEADPHONES NEW ATH-M50xDARKGREEN LTD EDITION PROFESSIONAL MONITOR HEADPHONES
25/02/2015 4:52:59
I N T E R V I E W S
INCUBUS We’re now several sub-cultural sea changes on from Incubus’ emergence out of the heavy rock underground to become modern rock heavyweights. To be exact, it was 1999’s Make Yourself that launched the Californian quintet onto festival main stages, arena tours and into the record collections of a hefty portion of the population. No matter what the prevalent trends are, major global success is only ever reserved for a rare few, and there’s an even smaller percentage that can make it last. But since Make Yourself, Incubus have come up with four more LPs, all the while maintaining their headliner status. Should we put this down to good luck? Or perhaps creative sorcery? Well of course, thanks must go to the fans. “Our fans don’t give up on us very quickly,” says bass player Ben Kenney. “In other situations I imagine it’s harder to keep everyone’s attention, but for some odd reason we’ve been gifted with fans that come back after two years. However long we go away, no one holds it against us.” Having previously played guitar for The Roots, Kenney wasn’t a member of Incubus when Make Yourself and its multi-platinum successor Morning View were made. His initiation came in the lead up to 2004’s
OBLIVIANS In 2013, Oblivians delivered their long-awaited fourth album, Desperation. It had been a decade-anda-half since Oblivians’ third LP …Play 9 Songs With Mr. Quintron, but the title of the band’s latest record doesn’t reflect the position they were in when it was made. If anything, by 2013 the Memphis trio were more widely regarded than at anytime previously in their stop-start career. “It seems to be when we get back together, there’s a lot of interest in this band,” says bass player Jack Yarber. “Like you guys are having us come to your country. So we’re like ‘Well why is that?’ In the ‘90s I don’t think that could have happened. I mean we could have done it, but we would’ve gone broke doing it. It seems now the business end of Oblivians is a lot better than what is was back then. I think back then if something turned out good, ‘That’s great,’ if it turned out bad it’s like ‘Oh shit, we didn’t think of that.’” Oblivians kicked into gear in 1993 and pumped out three LPs over the next four-and-a-bit years. They managed to sign with the iconic Crypt Records and earn a scattered underground following, but the instrument-swapping trio’s existence wasn’t characterised by thundering success. Then in early ’98, the band ceased to be, which left Jack Yarber and Greg Cartwright to return to their earlier project
PG.20 // MIXDOWN #251 // MARCH 2015
A Crow Left of the Murder..., following the exit of founding bassist Dirk Lance. Being asked to join a hugely successful band would be a lip-smacking temptation, but Kenney’s entrance wasn’t purely based on commerce. “I’m happy to be able to eat, I’m happy to be able to pay my mortgage,” he says “Those things are great, but if I didn’t respect it, it would be miserable. I’m a bit of a snob and I don’t like a bunch of music; I’m very, very picky. So the fact that these dudes are as talented and as legit as they are and the fact that these dudes can push me to want to be better, that’s a big motivating factor. “Being somewhere you like to be with people you like being around is way better than being successful and being in a place you don’t want to be,” he adds. “That’s why Porsche sales in the United States are so high, because people freak out, have a mid-life crisis and they’re like ‘I’m not in the right place, I’m going to divorce my wife and buy a convertible.’ When I look around at the dudes I work with, although we’re all human and all have our shortcomings, I’m like ‘Man, this is alright.’” Incubus’ most recent album, If Not Now, When? came out in 2011. Since that time the band’s toured occasionally, but kept quiet on the new music front. However, in early February they dropped the single ‘Absolution Calling’, which is lifted from the forthcoming four-track EP Trust Fall (Side A) – due in late March. “Those four songs are in the bag, completely ready to roll,” Kenney boasts. “We’ve been spending the last few months together just writing music every day. We’re all interested in figuring out what we are. I don’t think anybody feels like it’s a done deal yet.” The (Side A) appendix is there to denote that a companion release will follow later in the year. The band haven’t recorded an album’s worth of material and cut it in half, though. In fact the nature of the second instalment is still up in the air.
“We’ve got a bunch of other songs that we’re working on,” Kenney says. “[There’s] everything from a riff to a lyric to songs that have two different demoed versions and arrangements that need to be figured out. There’s a big mess in the studio of all this stuff happening. We’re going to come back in April and then pick up the pieces, figure out what the next four, five, six – however many songs there are we need to put out.” With the release of If Not Now, When?, guitarist Mike Einziger explained the album was written with simplicity and a preference for leaner, less aggressive arrangements in mind. The extroverted sound of ‘Absolution Calling’ foreshadows the path taken on Trust Fall (Side A). “We did not want to come out and play a bunch of mellow stuff for this first EP, because of the last record,” Kenney says. “We felt we were missing some rockers, so we were like ‘Let’s rock out a little bit.’ We did that mellow shit and we explored that side. I think [If Not Now, When?] is going to take a long time for the dust to settle and for it to find its place in our catalogue. But in the meantime we’ve got to get back on it and we’re all in the mood to make something loud right now. “Now, in April after we tour,” he adds, “we could want to come back and play Eastern Russia polka music over trap beats with Lil’ Wayne. I don’t know, it could be anything. We’re going to try to let the inspiration lead.” The tour Kenney refers to kicked off in Australia last month at the Soundwave festival, plus sideshows with Antemasque. Incubus have long maintained a cult of devotees in Oz and, after a three-year absence, Kenney was pumped to return. “You guys have better ice cream and its warm and there’s tonnes of pretty girls. All the stuff that makes life fun.”
Compulsive Gamblers, while Eric Friedl put his energy into Goner Records. These days, Friedl’s still running Goner (which has become an independent institution), Cartwright devotes himself to Reigning Sound and Yarber seems to have a new project every other week. Since 2003, however, Oblivians have come together every few years for the odd gig or spot of touring. And with each successive reunion, their following grows stronger. “The first time we got back together was 2003,” says Yarber, “and we played one gig in Memphis and it was completely sold out. People came from everywhere, it was 400 people or more, all Oblivians fans, all knowing the songs and yelling along with the songs. It was pretty amazing.” Not long after Oblivians turned out the light, bluesy garage rock experienced a wave of mass popularity. You remember the time: The White Stripes staked their claim on rock music and innumerable bands, with a variable understanding of musicality and song-craft, followed. Anyway, bluesy garage rock is precisely what Oblivians are all about, so perhaps their early exit denied them a big break. Yarber’s not so sure. “Three years after we broke up, there’s this burst of garage rock – it’s huge – and the internet radio thing started happening,” he says. “I hear ‘You could’ve been as big as The Hives or The White Stripes.’ The way I look at it is like, ‘Are you sure you’ve listened to an Oblivians record?’ ‘Guitar Shop Asshole’ is not going to be a video on MTV. Not in this lifetime. Oblivians, if anything, was mocking the rock star kind of thing. I like The Hives and the early White Stripes records, but I don’t think we would’ve been one of those kind of bands.” It’s a fair call; Oblivians ’95 debut Soul Food is too haphazardly cooked to fit on a major label summer sampler. It figures, when you consider the record was essentially un-planned. “We were going to go in and record what we were doing as our live set,” Yarber says. “We did a live recording – maybe we
repeated songs a few times if we messed up – so there was no mixing, it was just done straight. I think Greg over-dubbed a tambourine on one song and an organ on one or two songs. The intention was to record the band now because we may not be together [for long], and try to get a few 7”s out of it. Eric sent out a few tapes and Tim Warren at Crypt went crazy about it. He sent us a fax ‘Let’s do an album of the whole thing.’ Then we did a tour of Europe and it was really good over there, then that was the motivation to go back to record [again].” Unlike stacks of the bands that popped up during the garage rock boom, the Oblivians’ three initial records have stood the test of time. Once again, to spawn creative gold, Yarber says there’s no plan like no plan. “At the time, whenever you’re making a record, you’re just trying to make it sound as good as it can and a way that sounds like all the songs are coming from the same band. When the band was originally together, you’re just in the moment, you’re not thinking about ‘Well this is going to end soon.’ “You want it to be a raunchy record,” he adds, “but at the same time you want it to do well enough that you have the opportunity to do another record the next year. That’s a reasonable desire. Then there’s the other desire, ‘I hope I make a shitload of money and buy a boat.’ That’s more of a dream.”
BY AUGUSTUS WELBY
BY AUGUSTUS WELBY
TOUR DATES MARCH 4 – NEWTON SOCIAL CLUB, SYDNEY NSW MARCH 5 – BRISBANE HOTEL, HOBART TAS MARCH 8 – GOLDEN PLAINS FESTIVAL, MEREDITH VIC MARCH 9 – BARWON CLUB, GEELONG VIC MARCH 11, 12, 13 – THE TOTE, MELBOURNE VIC MARCH 14 – WOOLY MAMMOTH, BRISBANE QLD
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I N T E R V I E W S songs in the current setlist? Monte: We’ve been playing ‘Canberra Won’t Be Calling Tonight’ quite a bit. We’ve been playing ‘Hotel Stay’ quite a bit, and that’s unreleased.
CLIENT LIAISON It’s mid afternoon, a fairly hot one, as Harvey Miller and Monte Morgan return to Client Liaison headquarters – a corner of a spacious storage warehouse, halfway between the business end of Collins and the Yarra River, a working space bordered by synthesisers and sample pads, a huge Ansett Australia banner adorns high up on the rear wall. The duo have been scouting locations around Melbourne for a secret project, details not ready to be disclosed at this stage. Harvey and Monte exhibit a calm focus in the lead-up to their biggest tour yet, selling out decent sized venues across the country, in what appears to be a close of a chapter, putting their debut EP of last year to bed as album plans come into fruition. Alright, first question: do you have a crossover hit in you? Harvey: Good question. Monte: That’s a hard question. Harvey: We can play you some stuff? Harvey opens up a Macbook, replete with rainbow Apple decal on the rear, and plays snippets from four unreleased tracks, including a song titled ‘Foreign Affair’. Harvey: That’s what we have going at the moment. That first one does have a bit of a Mark Ronson vibe. Any of those
Will ‘Hotel Stay’ find its way onto the album? Monte: Yeah, we’ve probably got five songs that we’re finishing off right now. We’re more excited to write new material. Some of that stuff is very old. Harvey: Just tying up loose ends. Monte: A lot of that stuff was written before the EP, we picked the tracks to finish for the EP and now we’re finishing what was left over. We’re interested in the next batch of songs after this tour, because we have a bit of time. Each track on the EP was pretty much a single. Harvey: We always find this quite confusing, because we do a video for each song it dresses it as a single. It’s not, we just like making video clips. We’re not saying each time “This is single-worthy”. It’s a bit annoying trying to get that across. Does it even matter? Monte: It just helps getting people to listen. We like those songs and those film clips, but for our next batch of songs we just want to write them, not make any promises they’ll be released, or have film clips, be singles, be album tracks. We don’t know. We just want to make a big collection of songs. Harvey: Then do the video clips. Monte: Not the other way around. You’re still, in a way, establishing yourselves in the lead up to the album, but you’ve already had great success with your live show and the EP. Back when you made ‘End Of The Earth’ in 2012, did you think it would ever go this far? Monte: We knew it had potential, but we couldn’t imagine it. All I could picture was playing in front of a few friends. You just think about the next step: ‘I’d like to play that venue’.
Harvey: It’s all been incremental, in small steps. Though we’re proud of our songs and how they’ve resonated, we haven’t had one that’s had a million, or half a million, hits on YouTube or Soundcloud. Monte: Every song has helped the cause. Harvey: There was Golden Plains, then selling out our first headline show. Then supporting a big act. It’s all baby steps, not like “Here’s the hit, here’s the world tour.” Does it feel like it’s happened quickly? Harvey: It’s two years, but it hasn’t felt quick. We’ve been playing music our whole lives. Monte: You just remember the last step and look at the next one. Harvey: We don’t have any trouble reminding ourselves we’re small fry. It’s nearly two years to the day since your Golden Plains appearance. How do you look back on it? Harvey: That’s the most quantifiable step up that we’ve ever had. When we came back, we had a headline show at The Toff, and I thought no-one was gonna come. We’d never put on our own show, just cutting our teeth at smaller venues. Then it was one of the quickest shows to sell-out ever at The Toff. Monte: But then we didn’t release anything for a while. It was fun to play on that stage. It takes a while to get your team and your strategy together. Behind the scenes, that takes a while. When our manager came on, he pushed us to do a new song every three months. BY LACHLAN KANONIUK
TOUR DATES MARCH 4, 5 – BLACK BEAT LODGE, FORTITUDE VALLEY QLD MARCH 6 – JIMMY’S DEN, NORTHBRIDGE WA MARCH 7 – PIRIE STREET SOCIAL CLUB, SA MARCH 13, 14 – OXFORD ART FACTORY, SYDNEY NSW MARCH 18 – 170 RUSSELL, MELBOURNE VIC
STEREO SOUND. CUSTOM CONTROL. AT EVERY CORNER OF THE STAGE. PSM300 Stereo Personal Monitor Systems introduce the clarity and precision of 24-bit digital audio processing to personal monitoring, while bringing reliable wireless freedom and custom mix control to the stage. Easy to setup and use, PSM300 systems offer a choice of features that get any level user – whether new to in-ear monitoring or well experienced – up and running with a personal mix quickly and confidently.
PSM300 Stereo Personal Monitor System with SE112 Earphones
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MIXDOWN #251 // MARCH 2015 // PG.21
I N T E R V I E W S
THE BENNIES Contrary to popular thought, the music world is (or at least can be) a serious place. From the outside looking in it might seem as though it’s filled with pranksters and those who, if they hadn’t have been so devastatingly lucky, would be destined for a life sleeping beneath a bridge and surviving solely on the generosity of institutions like the Salvation Army. You’d be forgiven for having that opinion. On the surface the evidence points pretty clearly toward that conclusion, but in truth, even the most jovial characters buzzing about town have put a lot of work in and made plenty of sacrifices to see the successes they’ve seen. The Bennies are no different. They might seem like perennial piss-takers, but it’s taken a lot for them to get to where they are today. They’ve even had the good sense to change their name in order to further themselves and push harder to make ends meet in an increasingly competitive playing field. “We used to be called Madonna, but we always wanted to play music festivals, that were kind of the aim of the band, but we had a few
LUCA BRASI During the ‘90s alt-rock boom, the line between mainstream and underground became rather blurry. More to the point, outsiders, misfits and unruly rock’n’rollers were harvested by corporate tycoons, given stacks of money, and thrust onto pop’s big stage. However, that unlikely formula has since been scrapped – record company power isn’t what it used to be and transgressive rockers are no longer considered bringers of commercial fortune. While the business changed irrevocably, the availability of quality music didn’t concurrently dwindle. The thing is, nowadays taking the indie path is not so much an act of defiant rebellion as a necessary requirement for steadfast musicians to get anywhere. Without making a big brouhaha about it, Tassie four-piece Luca Brasi are one of many crusading independent artists ruling Aussie rock at present. From small town beginnings and with punk rock as their weapon, the band are edging closer to the frontline. It’s been a steady climb, rather than an overnight breakthrough, but they’ve done it with artistic integrity in tact and dedicated support from the underground community. Perhaps what’s most remarkable about Luca Brasi’s ascent is the foursome’s casual approach: “Our band’s a weird combination of trying really hard to be organised and be this well oiled machine and also, just stuff happens, we do get really lucky,” says guitarist Tom Busby. “I don’t want to cheapen our efforts – we do work really hard – but sometimes it’s like ‘Woah are you kidding me?’
PG.22 // MIXDOWN #251 // MARCH 2015
mates that were booking festivals and they said we had no chance of getting booked under the name Madonna” vocalist Anty Horgan tells me. I don’t think anyone can call them into question for changing their name. Sometimes you have to make these tough decisions or you might put yourself at risk of never progressing any further. Instead of playing under an impressively cheeky band name, now The Bennies focus their comedic efforts on the lyrical substance of their music. The title track from their latest release Heavy Disco is a pretty forthright and honest account of the acquisition and consequential ingestion of, for lack of a better term, pingaz. To some it might seem to have a slightly different sound to their previous releases, but according to Anty it wasn’t an intentional decision. “A few people have said it’s different, which is weird, I guess it is, but it doesn’t really feel different to us. We wanted to put out something before summer started. We had a few songs sort of going, but nothing really finished, so we thought, ‘we’ll get them done and put out an EP or a 7 inch, so we can get something out.’ We had a really hectic busy year last year, and we only had really about three weeks to finish writing and recording these songs, so we kind of smashed them out pretty quickly. We didn’t labour over them as much. That’s not to say we didn’t put effort into them. We did, we just tried to get through them pretty quickly. Now, looking at Heavy Disco, I think we’re going to just let it sit there as a stand alone release. I’d be very surprised if we used any of these songs again on any other releases.” Really, there isn’t any reason to reuse any of the tracks. Heavy Disco seems to be as popular as any other Bennies release, and all the T-shirts they’ve made bearing the chorus line ‘life ain’t a dance it’s a heavy disco’ seem to be flying off the shelves
and populating Soundwave Festivals in every state. It’s probably not indicative of the brilliance of the Heavy Disco release itself, but more the bands entire body of work and the efforts and sacrifices they’ve made to get to this point. While it might seems like it’s all fun and games, it does require sacrifice, and as Anty tells me, they’ve made plenty of them. “Shit yeah, for a long time as well. I mean I’m 29 now, we’ve been playing in bands since we were 18. So ten years of not being able to commit to a job because we’re going on tour all the time. There are tough points where you’re broke. Still, what you get for those sacrifices is an over load of good times. I’d rather look back and say ‘yeah, I gave that a real go’, rather than looking back and saying ‘shit, I saved three hundred bucks that month’. Money comes and goes. Experiences are forever.” The experiences seem to be coming thick and fast for the group now as well. They’re starting 2015 in style with performances at Beechworth Music Festival, Soundwave and Golden Plains before the hot weather falls away. There’s no sign of slowing down for The Bennies, and nor should there be. My hat goes off to them, and I wish them all the best in their upcoming performance, one that Anty tells me is their greatest gig to date. “Playing Golden Plains which is a massive bucket list achievement for the band. The sole purpose for starting the band was playing at Meredith Music Festival, so it’s so exciting to be playing there. It’s also pretty awesome to think we’re going to be playing with the Village People.”
“The more time passes, the more you learn,” he continues. “So booking a tour or whatever, you learn stuff or you know who to talk to if you have a question or if you need help. So we’re getting to be [a well oiled machine]. I’m sure we’ll get there one day… hopefully.” This time last year, Luca Brasi released their second LP By A Thread. The record came bearing the stamp of Melbourne punk rock stable Poison City Records. Still, the outlook at the time of release was fairly modest. “We obviously had the initial plan to do a release tour, which we did with Post Blue last March,” Busby says. “Then it was like ‘I guess we’ll do another headline tour towards the end of the year and try to get on a tour with a good band sometime in the middle of the year’. We crossed our fingers and then we got to go on tour with Violent Soho.” Of greater significance for the band – which is completed by vocalist/ bass player Tyler Richardson, guitarist Patrick Marshall and drummer Danny Flood – was the album content. Having now spent five years together (albeit with the odd member switcheroo), it was time to broaden the width of their stylistic frame. “There was one moment when I wrote some riffs that were pretty different from what we were doing,” Busby says. “They were less punk, they were a bit more noodle-y. They were a bit more like that American Football [sound], and I like Tiny Moving Parts and those sorts of bands.” It’s no secret that fans of independent, left of centre bands have slightly different values than followers of mainstream acts. In the former case, fans are adamant that artists hang onto their deviant edge. However, this can give rise to a paradoxical conservatism, as any major style shifts are liable to be interpreted as a betrayal. “Someone once told me when they heard By A Thread that it’s heaps mellower,” Busby says. “Now, not everyone would agree with that. I wouldn’t necessarily agree with it. This was like a skate punk
kid, his favourite band’s A Wilhelm Scream, so we probably sound like Mumford & Sons to him.” There are innumerable instances of bands heeding this external pressure and playing it safe, which led their music to progressively turn vapid. By A Thread is a marked step away from Extended Family, but it took some time before Luca Brasi were totally comfortable experimenting with new sounds. “Looking back, once we’d recorded By A Thread and it came out, I was like ‘Woah this is actually a lot more different from our first album than I was expecting it to be,” Busby says. “It just sort of happened, but there was the time where we needed to run ideas past each other. I felt, ‘I don’t think anyone’s going to want to do this.’ I think we all had our little moments like that, but we we’re all like ‘Nah that’s awesome, let’s keep doing that.’ “The song ‘Here’s Looking At You Kid Rock,’ I had a demo on my computer that I didn’t even show anyone,” he elaborates. “It was like two weeks before we had to go to the studio and I showed Tyler and he’s like, ‘that’s awesome.’ We’d only just got a new drummer, because Saxon left the band, and we quickly learnt this song. It sounds nothing like we’ve ever done before, but everyone was stoked to do it. So now it’s like ‘If you’ve got an idea and you like it, let’s play around with it.’ It might not work out, but some of the time it does.
BY KEATS MULLIGAN Heavy Disco is out through Poison City Records. For a list of full March and April tour dates visit www.thebennies.com.au
BY AUGUSTUS WELBY
TOUR DATES MARCH 11 – SMALL BALLROOM, NEWCASTLE NSW MARCH 12 – CROWBAR, BRISBANE QLD MARCH 13 – NEWTOWN SOCIAL CLUB, SYDNEY NSW MARCH 14 – NORTHCOTE SOCIAL CLUB, MELBOURNE VIC MARCH 15 – WRANGLER STUDIOS, MELBOURNE VIC MARCH 19 – THE BRISBANE HOTEL, HOBART TAS MARCH 20 – ROCKET BAR, ADELAIDE SA MARCH 21 – AMPLIFIER BAR, PERTH WA MARCH 22 – HQ, PERTH WA
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I N T E R V I E W S
CONOR OBERST “This happened on December 30, 2003. That may seem a while ago, but it won’t when it happens to you. And it will happen to you.” That’s the opening line of Joan Didion’s ‘The Year of Magical Thinking’, discussing the death of her husband after a cardiac arrest. Less than a decade old, the text has already ascended to classic status when it comes to exploring the theme(s) of what it is to mourn. Mourning, whether it be for the loss of a lover, the lack of a lover, opportunities lost or opportunities never pursued, is what swells within many when they listen to Conor Oberst – as his music traverses the more sombre spectrums of the human psyche. Since self-releasing his debut album Water on cassette in 1993 at the age of 13, through his work with his many bands such as Bright Eyes, Desaparecidos, Arab Strap and Monsters of Folk, Oberst has carved his own imitable niche within the indie-folk world with a penchant for ballads that appeal to the more lovelorn of ears. “Everything I’ve learned at a musician, whether it be as a guitar player, a piano player, a singer, a writer or as a quote unquote producer, it’s all been through trial and error,” notes Oberst when reflecting on his past two decades as an artist. “If you were to listen
XAVIER RUDD
& THE UNITED NATIONS Xavier Rudd is a mainstay of the Australian festival circuit, and pretty much all of us have seen him live at some point by now, right? He effortlessly balances rhythm and melody in service of the song, and often performs surrounded by a virtual music stores’ worth of guitars and didgeridoos. But for his latest album, Nanna, Rudd has opted for a fresh approach, bringing in a full band with instrumentation as diverse as his songwriting. Xavier Rudd & The United Nations will be touring nationally in March and April before undertaking more extensive touring abroad and back at home. We caught up with him prior to the album’s release to see what’s happening in the world of Rudd. The album was mixed by reggae legend Errol Brown at Tuff Gong Studios in Jamaica. That’s gotta be cool! It was super-cool, bro! We originally planned to have it mixed by someone else but they had shows booked and couldn’t do the time frame we needed to get it mastered and released by a certain time. I’d met up with Stephen Marley in America - we did some shows - and I showed some demos to him. He said “You should get Errol Brown to
PG.24 // MIXDOWN #251 // MARCH 2015
to my records from the mid-’90s and compare them to the records that I’m bringing out now, I’d like to think that I’m technically a much better musician. “As for the way I write lyrical content for my songs? That’s a little dicey.” While the influence of ‘60s folk-revivalists Neil Young and Leonard Cohen in his musicianship is unmistakable, Oberst’s poignant lyricism and delivery evokes a tender and sorrowful sentimentality akin to that of the late Elliott Smith or Daniel Johnston. “I suppose some people will wonder ‘what does a 13-year-old write about compared to a 30-yearold’? In my experience, the processes are very similar,” he details. “Of course you’re writing about your perspective and what’s happening in your life. You observe what’s happening around you, whether it be from conversation, books you’ve read, movies you saw, your friends experiences. You collect these thoughts in the back of your mind and let them blend together and come out through song like they’re a daydream. “That’s the miracle of creativity. That’s what keeps me coming back. I could tell you how I think it happens, but I don’t really know. I don’t have a great deal of control over it. I’m now 34, but compared to when I was a teenager, the way I write songs still seems eerily similar, for better or worse.” 2014 saw the release of Upside Down Mountain, Oberst’s sixth solo studio record, following 2009’s Outer South. Recorded in various locations in Los Angeles, Tennessee and his native Omaha in Nebraska, the album highlighted Oberst in an everevolving sense of maturation, which an emphasis on focused reflection and emotional sincerity. “The record came out back in May, and then I spent about four months on the road,” he shares when looking back on 2014. “I went on two US tours and one European tour. For the first two tours I went on the road with a band called Dawes from LA. They opened for me but also played as my backing band.
That was a great experience – they were really generous to let me into their inner circle. They’re fantastic musicians. “For the last US tour I switched things up and got to be on stage with Jonathan Wilson who produced the record with me. We were really able to recreate what we did in the studio in a live environment. I only got back from my last trip three days ago. It feels so good to sleep in my own bed and just relax. But that said, as we speak I’m getting ready to head back to Omaha to finish a record that I’ve been working on with Desaparecidos. That’ll be released sometime in 2015, but I’m not sure when. We just signed with Epitaph which is this great punk label from California.” Following the cancellation of Desaparecidos’ appearance on the 2014 Soundwave bill, later this month will see Oberst return to Australian shores for an extensive tour which includes a run of intimate theatre shows, twilight zoo performances and an appearance at Golden Plains. “I’m going to be coming to Australia with one of my absolute favourite bands in the world – The Felice Brothers. For the Australian tour they’re going to play as my backing band in a similar way that Dawes did,” he explains. “I plan to do a bit of everything. I want to play some stuff from my new record, some stuff from my older records, a bunch of Bright Eyes stuff, who knows – maybe even some covers. I’ll try and craft a set list that spans my many years and projects because I really don’t get down there enough.”
mix this record. He mixed all my fathers’ music and he’d be perfect for this record.” So we reached out to Errol, who is very selective about what he does. He’s very old and he doesn’t do a lot of records, he just works on what he likes. He was super-keen and it was amazing working with him. It was a massive honour. I talked to him on the phone and I could hardly understand a word he said! But he spoke in real depth about the album. His mother had passed during the whole process, and he was grieving her and was still quite in shock. And the record speaks a lot about the sacred feminine, with ‘Nanna’ being the title track out of respect for all our nannas and the old woman spirit, the great creation spirit, the great grandmother spirit of our earth as well. So it was coming from that place, and he was really connecting with that at the time.
to appear appeared. It was quite interesting how it happened. There were no auditions; everybody just presented, and everyone was from a different place so that’s why I called it United Nations. I had the idea of the sounds that I wanted, some of the lines and things.
Did he give you a lot of feedback? He sunk right into the mixes. He did a lot of mixes. In a lot of cases someone like that might just give you a couple of versions but he kept sending stuff! I’d be happy with a song but then two or three weeks later he’d send me another four mixes of it! I’d be like “Oh f**k, I thought we were done here, but now we’re back!” But in the end I just let him roll! It was an amazing experience. And all those classic Bob Marley tunes, the production on those was timeless and that was Errol. I was really honoured. It’s just one of those moments on this journey where it’s like, “…wow!” So the whole idea of this being a band record, not you surrounded by 90 didgeridoos and 80 guitars how did the band come together? It’s something I’ve always wanted to do, for a long, long time. I’ve been very patient with that concept. I wanted that to happen when it was really ready so it was years before I really pursued this, but I always had it in my heart. And last year it all opened up in every way, and it was time. Everyone that was meant
BY TYSON WRAY
TOUR DATES MARCH 4 - METRO THEATRE, SYDNEY NSW MARCH 5 - ANITA’S THEATRE, THIRROUL NSW MARCH 6 - TARONGA ZOO, SYDNEY NSW
What guitars did you use? I played a Tele on the whole record. A couple of semi-hollowbody Teles, actually. And I played a little bit of slide. I overdubbed only one slide solo, which is rare for me. And I used a bunch of different delay pedals and reverbs. Old kooky kinds of reverbs. Spring reverbs. I had a couple of those I was mucking around with and it would depend on how you positioned it on the table because the springs were super loose and old, but then you get a really interesting reverb happening and it’s like “Oh! Don’t touch it! Let’s track one, quick!” Then halfway through the track you realise it’s gone! So I was mucking around with stuff like that. The band sounded so full, so I was mucking around in the mid to high register which is fun, and I don’t usually do that because I’m usually playing so many basslines. This was a whole different approach, getting into the real state of the music. I didn’t want my parts to be too full. I wanted everything to have the space to breathe. My approach is that I’m pretty much holding the carpet for everyone else to skate around. BY PETER HODGSON
TOUR DATES MARCH 19 – THE FORUM, MELBOURNE VIC MARCH 21 – METRO THEATRE, SYDNEY NSW MARCH 22 – THE TIVOLI, BRISBANE QLD MARCH 27 – HQ, ADELAIDE SA MARCH 29 – WEST COAST BLUES & ROOTS FESTIVAL, WA APRIL 2 – BLUESFEST, BYRON BAY NSW
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C O L U M N S
UNLEASH YOUR INNER ROCK GOD
WHAT’S THAT SOUND?
Two Approaches To Muting
Akai’s Analogue Oscillations
Nuno Bettencourt
When I was a kid I had a really great guitar teacher named Peter Cominos who seemed to know pretty much anything and everything about guitar. He was (and is) a great all-round player and he understood the mechanics of the guitar in such a way that even if I wanted to learn something that was outside of his particular strengths - such as my youthful desire to learn utterly sickening shredder stuff that was far more extravagant than his more respectable style - he knew how to teach it, even if he wasn’t fluent in the style. One of the most important things he taught me was not about what I was playing, but about what I wasn’t playing - or rather, how to mute the strings I wasn’t playing. This lesson is based on some of what I learned from those lessons, some of what I’ve stumbled upon on my own and some of what I’ve picked up in guitar clinics over the years. But I start with mentioning my old teacher because I think it’s incredibly important to diversify your guitar study and make sure you have some one-on-one lessons with a good teacher even if you feel like you’ve already gotten to a good level of proficiency learning from videos and tab alone. A teacher can spot problems in your playing that you might not know you have, and that your iPad or laptop won’t be able to diagnose for you. Okay, so we’re going to talk about two specific approaches to muting here that have nothing to do with the ‘palm-muted chug’ approach. The first is the Nuno Bettencourt way, which is a method that my teacher had shown me part of, but which I sort of pulled together in a more solid way later after watching Nuno play. The other method is the Marty Friedman approach.
The Nuno Bettencourt Muting Approach
Nuno Bettencourt is one of the cleanest, most precise and yet funky players ever. And the sheer rhythmicity of his playing makes sense, since he’s also a very proficient drummer. A big part of what makes Nuno’s notes pop so well and fit in the pocket so perfectly is that there’s nothing going on besides the very specific note he’s playing; no fret noise, no string noise, no accidental note hits. And he achieves this with a two-tiered muting approach. Here’s how to do it; Look at your picking hand. Say you’re playing a note on the D string. You can angle the fleshy part of your palm right below your thumb in such a way that the edge of it lays against the A and E strings above the D. Move up to a note on the
A string and you’re still stopping the E from ringing out. Shift to a note on the G or B string and that part of your hand will cover the remaining strings above it. Get the idea? This way you can play a completely clear, clean note on whatever string you choose. But there’s an added bonus; you also have the option of hitting all of the strings above the one you want to play, thus triggering a super-chunky note attack. If you’re playing, say, a B note on the ninth fret of the D string, you can also hit the muted E and A strings and add a satisfying THUNK to the note. Aah, but what of the strings below the one you’re playing? Well for these guys you can use the underside of your fretting finger by laying it against the remaining strings. Don’t push down so hard that you’ll sound some notes like in a barre chord, just hard enough to get that same percussive THUNK when you strike those strings, or to simply stop any extra noise from sounding when you hit them accidentally.
The Marty Friedman Muting Approach
Marty often plays with an extremely unconventional picking style where his arm extends right down so that his wrist is below the strings and his thumb is basically parallel to the strings instead of at a 45 degree angle like most players. I saw him in a clinic once where he explained this; it’s basically ‘anti-muting.’ Marty’s approach to muting is not muting at all. He picks like this specifically because it doesn’t mute any unwanted notes, and the reason is because he likes the unpredictable nature of those random squeals, squeaks and squawks happening underneath the notes he actually intends to play. It’s one way he likes to keep his playing from sounding too mechanical and perfect. It helps him to sound more edgy and ‘street’ even when playing with really complex harmonic and rhythmic concepts. And it’s as musically useful as the superclean Nuno Bettencourt style of muting is. BY PETER HODGSON
PG.26 // MIXDOWN #251 // MARCH 2015
So, I am sure many of you are still giddy with excitement after the range of announcements at this year’s NAMM show. For the synthesizer enthusiasts among us, it was a big year of brilliant product announcements. Obviously Moog Music was in the spotlight with the announcement of their modular systems making a return. Further to this, Dave Smith Instruments stole the show with the Prophet 6 proving to be one of the most talked about synthesizers to land in 2015. One of the other great, and rather surprising announcements was that Akai have stepped back into the analogue synthesizer arena with two new products scheduled for release this year.
That Tone
It seems everyone one is making a very definite move back towards hardware synthesizers these days. 15 years ago there was a very different approach to synthesizers. The new century seemed to herald the end of the hardware synthesizer as just about everyone was heading towards software development and hardware sales were slowing year by year. Finding a keyboard that did what you wanted within a realistic budget became harder and finding that sound meant turning to older equipment once again. But, a drive by certain manufacturers and a demand from users has seen this turn around slowly. Getting the classic tone is still what users want, but with a more modern way of working and better control and integration. This is where Akai Pro is now stepping up to the plate, with not only a competitively priced analogue synthesizer, but a selection of products to meet a range of needs.
Raining Cats And Dogs
So, Akai Pro has really gone all out this year with their new product releases. Those of you who are going mad trying to keep abreast of all these new analogue developments and releases will be rather excited. Not one, not two, but three new products are on their way from Akai Pro. The one that will no doubt get the most attention is the Timbre Wolf, a 25-note, four voice analogue synthesizer with a built in step sequencer. This should come in around $1000 and will give the competition something to think about. It looks like a simple layout that allows for maximum control over each of the four voices to be used separately or as one and promises a range of sounds that we haven’t heard from Akai Pro before. The next in the line-up is the Tom Cat, an
analogue drum machine that is going to get retro junkies absolutely raving. This is something that has been seriously missing from the market for many years, but the humble drum machine was the stalwart of electronic music production for years before the computer shunted it aside. So now, Akai have brought back the old with a modern twist to allow you greater control and better sounds in your drums than was previously though possible with a drum machine. Naturally, it has a built in step sequencer and includes MPD style pads to allow you to drive in your beats the way you want. I think this will be a very popular unit for producers across a range of genres. The final addition to the all-new analogue approach from Akai Pro is the Rhythm Wolf, which is a drum machine and bass synthesizer in one. At this stage, I am a little unsure of what this will bring to the table, as it is built into the exact framework as the Tom Cat. There is the same amount of buttons, knobs and pads as the Tom Cat, so it really cannot deliver as much in the way of drums if it is going to bring the bass too. This might be a bit of an allrounder that takes a little from the Tom Cat and a little from the Timbre Wolf whilst not really offering all the advantages of both. These three products represent a big step for Akai Pro, as they haven’t really been in the synthesizer game for a few years now in any seriously manner. This does show that they are looking to impress and I personally can’t wait to get my hands on all three of these units to see what they can produce. 2015 is proving to be a big year for synthesizers with more keyboards available from an ever growing range of manufacturers. It really is a synth lovers’ dream right now. BY ROB GEE
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C O L U M N S
BANGING THE TUBS
ON THE DOWNLOW
On Tour | Leo Sayer
The Arranging Tricks Of Faith No More
I’ve recently had the opportunity of embarking on a tour with legendary British/Australian singer Leo Sayer. It has been eye opening, challenging and extremely rewarding. After loads of preparation, rehearsal and finally – gigs, I’ve had myself an experience.
Legends Footsteps
As I studied the 30-odd strong song list, I took note of the versions from live recordings Leo had done on more recent gigs as the endings, tempos and arrangements would be similar if not exactly the same. However, I was also given the original recordings for reference. The original recordings date back to the 70s where Leo and his producers were using all the great, legendary drummers on his hit records. How legendary you ask? How does Steve Gadd or Jeff Porcaro strike you? It suddenly dawned on me that I was going to be playing these hit songs with some truly incredible grooves, made famous by my biggest influences. The learning experience turned a corner at this point. The sounds on the recordings were old school and the feel was mighty. Every fill was chosen carefully and I could hear perfect examples of musical approaches to playing only for the music. Tempos of course were rock solid. I had a challenge on my hands but it was so good being able to study the songs, learning from the masters. I took this ‘for the music’ approach when attempting the tunes with the understanding that I would add my own thing where appropriate. It’s a live show after all.
Personal Interpretation
I decided the old school 60s Ludwig Super Classic was going to be the kit of choice. I also decided to use Zildjian K cymbals – dark and big and I’ll keep the snare drum (Ludwig Black Beauty) tuned lower and dampened. I really dig this sound anyway but it really appeared to be the best option for the tunes regardless of what the live recordings sounded like. When production rehearsals started, the head sound engineer admitted to me that the old kit looked like it was going to fall apart and he wasn’t sure but he loved the sound coming through the desk and it was agreed it was a good option to channel the 70s sound from the original recordings. I played the tunes as close as I could to the originals with the live recording arrangements but I also added my own thing. Regardless of how much I try, I can never be Steve Gadd or Jeff Porcaro. I’ll never actually sound like them because I sound like me. So in the end, I just did my thing. It was a good choice. We’re all heavily influenced by other musicians but ultimately; we still end up playing like
ourselves. That’s the way it should be anyway.
Challenges Of Touring
Those of us that play gigs regularly will be familiar with the usual three sets on a Saturday night but touring has its own kind of match fitness. A typical day may include catching a flight to the city of choice, or driving for five hours, getting the hire car and checking into the hotel, heading to the venue, sound check, dinner, then the creative juices need to start for the gig which may only be one set, but it’s likely to be around two hours and you have to be on it the whole time. It’s not a covers gig you’ve done a thousand times. You’re playing for a well-known artist who has an audience of adoring fans that have paid good money for the experience. Add this to the fact you might be playing venues like theatres where you can hear a pin drop and this adds immense pressure, regardless of whether the songs are “easy” or not. Oh yeah, repeat the next day. I found that after even the fifth show in a row, the brain fatigue started really kicking in. Letting the guard down would yield silly little mistakes – like counting in the wrong tempo for example. We’re all human right?
The Cool Stuff
There’s good stuff about touring right? Yes there is. Having your gear set up is a good thing for sure – although I would still pack up my own kit. We had the drum rug marked out with the theory that the kit would go back on the stage exactly the same way each night. It worked and it was fantastic. I also had a sub and top box for my own monitor. During full production rehearsals, I got my foldback sorted out and it was the same for every gig thanks to digital desks that can save settings. This made sound checks much more effective and simpler. Overall, I was challenged in ways I didn’t expect on this run and I was rewarded for the work I put in. I was really able to sink my teeth into the songs over a series of shows. Yes, like any job, it has its ups and downs but really, I’m on the drums playing for Leo Sayer. Life could definitely be worse. BY ADRIAN VIOLI
PG.28 // MIXDOWN #251 // MARCH 2015
Faith No More were just in town for the Soundwave Festival, and as always, their music is a great reminder of the importance of clever arrangement. Nothing in Faith No More’s music happens by accident and their approach is more like that of a classical composer than an alternative rock band. Ever notice how you pretty much never hear the guitar, bass and keys play the same riff in the same way? That’s very intentional and it is part of what makes them sound so big, so unique and so complex. In Faith No More’s case, much of the focus is on what bass player Billy Gould is doing. Gould is one of the band’s primary songwriters and much of the arrangement side of things also comes from him. So let’s have a look at some of these tricks via some ‘Faith No Moreesque’ riffs. A big part of the Faith No More sonic philosophy is to have the bass take on as much of a melodic role as a rhythmic one while the keys provide atmospherics. The rhythm guitar is often left to a much more rhythmic approach than in many bands, and Gould says this is often inspired by what a hi-hat might usually be doing. This also frees up drummer Mike Bordin to get a little more creative with his grooves and rhythms, since the rhythm guitar is often providing a steady pulse. Let’s look at an idea inspired by ‘Land Of Sunshine’ from the Angel Dust album. (This isn’t the specific riff but just something you can play in the same style). I’ve notated a two-bar sequence with guitar, bass, keys and drums and you’ll see that each is playing a totally different part. If you have tablature notating software like Guitar Pro, enter this in and have a listen and for the full effect turn the guitar volume down to about half that of the bass, since the bass is really leading the charge here. Let’s look at each part individually.
Bass
The bass is playing a repeating pattern in the key of F#, although you’ll notice that it starts on an E which gives each six-note sequence a feeling of propulsion. There’s an octave on the third note of the sequence which helps it to pop out, and it’s designed to preface the snare hit by setting up a bit of drama and tension to
be released when that stick comes down. You can play this part with a pick to get extra attack and aggression out of your sound, you can slap-and-pop it for a bit more groove, or play it with your fingers to lay back a bit. Personally I like to play it with a pick for emphasis but then bring it back to fingers if you’re playing it as a verse.
Guitar
The guitar part here is pretty simple. It’s just three basic two-note power chords following the basic contour of the bass part in a few places but also just chugging away on that F#5 chord at the second fret. The first two notes of each bar are played with emphasis but the rest are palm-muted, and can be choked down on quite heavily to get the full ‘guitar as hi-hat’ effect.
Drums
The drums are performing a pattern that sounds kind of like skipping to me. The rhythm is pretty basic but when played on its own it sounds like it’s from an entirely different song; more “Rock n’ Roll Part II” than anything Faith No More would do. If you do enter this into Guitar Pro, try soloing the drums to see what I mean, then add in the guitar to get the full effect and you’ll see how the two work together in a way that a bass and drum kit might otherwise lock in. Note the cymbal crash on the last beat of the two-bar cycle.
Keys
The keys are playing a very simple pad using a different chord for each of the two bars. This part is ultra-simple and certainly the least rhythmically challenging but since the guitars and bass are playing the exact same thing for both bars, this keyboard part keeps it from sounding too samey. BY PETER HODGSON
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Novation’s More Able Than Ever
Radial Engineering JDX Reactor
Some five years ago Novation presented us with the Launchpad, a truly dedicated MIDI controller for Ableton Live. It paved the way for a range of controllers to be developed by other manufacturers, right up to the inception of the Push controller released by Ableton themselves a couple of years back. How with the increasingly popularity of the grid style controller, Novation has delivered a much anticipated update to their unit. This was unveiled at this year’s NAMM show and is sure to have a lot of long standing Launchpad users eager to get their hands on one. So, it is with the impatience of a child the night before Christmas that we now have to wait for the release of the Launchpad Pro.
Bigger And Better
Now, I’m sure many if you reading this will have already heard about the Launchpad Pro from the news updates that are available online, and those that haven’t will no doubt be checking it out shortly after reading this. What you will notice straight away is the bigger and more solid frame this new controller is built into. This makes it a tougher and sturdier looking unit that will be a definite centre-piece in a studio workspace. It features additional rows of eight buttons both down the left side of the unit and along the bottom. Plus, the inclusion of additional connections with a MIDI in and out supplied as well as the USB connection. Although this may be seen as a negative by some users who really enjoyed the slim and compact design of the original, especially when slipping it into a laptop bag for live work. I am sure the added features will far outweigh any logistical hiccups you encounter due to the slightly larger size.
Greater Control
At this stage, I haven’t been able to get my hands on one of these units, nor have most people. But, from what Novation has made clear about the Launchpad Pro, there is going to be a range of improvements in how this device works with Ableton. The row of buttons along the bottom of the unit allows for the user to jump into a certain page within Mixer mode and make adjustments from any mode and jump back after the button is released making it really handy for mute, solo, volume and pan adjustments on the fly without needing to go to your computer. The multi-coloured pads really are a major bonus with this new unit. When in Session Mode each pad lights up to match that of the corresponding clip. If you make any changes to the colourcoding of your clips with the mouse, it
is instantly adjusted on the unit to help you keep track of your workflow. This not only makes for a visually stunning work surface, but one that is intuitive and easy to navigate. One big bonus of the Launchpad Pro is the fact that it will pull you away from the mouse more than the original ever could. It has been designed to allow you to access and control as many features of the software as possible by only interacting with the unit itself. The extra row of buttons down the left side of the unit allow you to access a range of regular use features like Record arming, Doubling, Duplicating and the all-important Undo and Redo options. Holding these down with a combination of the pads to achieve the required result speeds up the workflow and removes your need to attend to the computer via the mouse. On top of this, each pad is pressure and velocity sensitive allowing them to work in a range of functions depending on what mode you are operating in. For instance, when making volume adjustments in mixer mode, a gentle press of a pad in the appropriate column will see the volume fader slowly move into that position. However, a sharp tap of that pad will see the fader snap straight to it. It essentially does away with the need to have a controller with physical faders as you can make these adjustments with the pads. At this stage I have no official release date that I can confirm for the Launchpad Pro, and when that happens, I am sure there will be the usual rush to get units. There will no doubt be a short supply that will see many Ableton users unable to get a hold of one right away. Obviously, getting in early with a pre-order is going to better your chances of securing one, but inevitably some of us are going to have to wait a while. Fingers crossed all of you reading this will be in the lucky group to get in first. BY ROB GEE
PG.30 // MIXDOWN #251 // MARCH 2015
This month, as we again focus on the many great amplifiers that are available from a range of manufacturers right now, I thought it would be worth considering a different approach to recording your guitar amp in the home studio. There has been a big movement in recent years towards lower powered valve amplifiers for a number of reasons. One such reason has been to aid in studio recording without the need for excessive room noise that doesn’t work well with the microphone. But, what if you don’t want to us a microphone to record your guitar amp, or what if you are looking for an additional sound to add to the microphone track to thicken it up? Re-amping is one option that then allows you to use a range of amplifiers and I have discussed that in length previously. The other option is to go direct.
Straight From The Source
When you are trying to achieve a more consistent result with your guitar amp sound, it is best to eliminate any variables right away. The first thing that comes to mind is microphone placement. This is critical when recording your guitar amplifier and an adjustment of half an inch in any direction or a slight variation in the angle of the microphone and you will hear different results. At the same time, room noise can play a part in your overall sound with environmental and reflective sounds contributing to your overall sound. So, getting a direct line from your amplifier is the easiest way to solve these problems. But, it is not always as easy as it seems. It is not simply a matter of running a DI box on the way into your amplifier as you would when recording an acoustic guitar for instance. This will only deliver the clean tone direct form the guitar and none of the amplifier’s tone to your recording, so a different approach is needed. Some amps do offer an emulated output designed for recording, but often these are taken from the signal path after the preamp and before the power amp section, leaving you missing an essential element in your amp’s tone. What needs to be done is for you to get into the signal path after the power amp section of your amp, before the signal gets to the speakers and capture the sound there.
A Different DI
In order to capture your amp’s tone after the power amp, you can’t just go about it by plugging the speaker output into your DI or interface. Doing either of this will cause damage to your recording system and probably your amp too. So please, be warned, you need to take some care here. Remembering you amp is creating an amplified load and it needs to expel this energy, so you must always have speakers or a power soak connected to
your amp’s speaker outputs at the correct impedance. There are a number of devices available though; these special DI boxes get into the signal path between the amp and the speaker, where usually a single speaker cable would be run. Hughes & Kettner make the ever popular Red Box and Radial Engineering have the rock solid JDX Reactor. Both are currently available specifically for this purpose. Both units allow for the amplified signal to be passed through unchanged to the speaker, but capture the tone at the same time and direct it out at line level on a balance XLR output with cabinet simulation. What you get is the full sound of the amplifier, after the power amp stage, with the addition of the tone you would expect from a 4x12 cabinet as well. This delivers a consistent sound every time you go to record that amplifier so you can know just how it will result on tape. It is easy to use such a DI when operating a head and a cabinet as you can easily get into the signal with the external speaker cable, but it is not always so simple with combo amplifiers. If your combo is rigged for a range of external speaker options, there is usually a 6.5mm jack running from the amp block to the cable connected to the speaker, rather than having it hard wired. This will allow you to add a short speaker cable in there and get into the signal path, but remember to always use a speaker cable and not just any patch cable. Instruments leads are not designed to handle the impedance of an amplified signal and using them can result in damage to your amplifier. If your combo has a hardwired speaker cable, you are pretty much stuck with the microphone only option, unless you want to get handy and do a little modification, but that is not something I am going to recommend doing. If that’s something you need to have done, it’s probably best leaving it to an experienced amp tech. BY ROB GEE
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WHAT’S MY RANGE AGAIN? Making Your Vocals Sing
There are so many elements to getting a great vocal recording, from using the right vocal technique, to treating the room, along with microphone selection and using the appropriate outboard gear on the way in to your DAW. Still, even when all these areas are taken into consideration, a great vocal recording can often be let down in the mix-down stage of the recording process. There comes a time when effects are required to bring the vocal out in the mix and all too often the singer is let down by not enough effects or worse still, too many. The real trick with tweaking your vocal effects in the mix is to respect the lyrics and not try to create something that isn’t there to begin with. You just want to make the existing recording shine.
Dialling In The EQ
Many people get carried away with EQ and try to use it to compensate for something that is lacking in a singer’s voice. This needs to be addressed first and foremost. Every voice is different and unique, and it is for that reason that the voice you are working with has been chosen. So, don’t try to add to it when it doesn’t need to be changed. The important thing to remember with vocal EQ is that you simply want to take out any harsh frequencies that don’t sit well with the rest of the mix. Don’t add, subtract. Find the offending frequencies by boosting the EQ sweep and then pull those frequencies out of the signal. The volume can then be made up afterwards for any resulting lack that occurs.
Compressing The Issue
As with the EQ, subtlety is the key with compression. You may well have compressed the signal on the way in to control the singer’s louder peaks and stop any clipping occurring, so now you simply want to refine the overall performance. If you drive the compression too hard, the vocals will tend to get a pumping effect over them and will jump in and out of the mix against other elements. Needless to say, this is bad. You just need to gently level out the vocals so that they command a stronger presence in the mix the whole way through the track. I know it may pain many of you to do so, but think about any Mariah Carey track for a moment. There are always moments when she is just about whispering into the microphone and other times when she is screaming her lungs out, yet the volume remains almost at a constant and the vocals sit right up front in the mix because of this.
Closing The Gate
One thing that always bugs me is ambient noise form within a vocal booth as a singer shuffles notes, moves about or just generally breathes. All this has no real place in your mix, unless you are looking for that raw art-house kind of feel. So, why not clean up the dead air between lines and get rid of any unwanted noise. There was a time when I used to painstakingly edit vocal tracks to chop out every little segment between the words. And yes, you can do this, applying fades in and out of each section to make it sound natural, but it is really a lot of unnecessary work. Placing a gate effect over your vocal channel can do all this automatically with the correct parameters set. You simply need to reference from the quietest section of vocals and wind the threshold up until just before it starts chopping out lyrics as well as noise. Then, just get a subtle decay and a fairly aggressive attack to open the gate when the vocals fire up and you should be good. Remember, vocal effects don’t have to mean applying special effects to your voice. There are a number of dynamic effects that all vocals need. If they are applied correctly, you really shouldn’t hear them, that’s what makes them so special. Only when they are removed you will hear how much they are needed. This is the same principle with applying reverb to your vocals. Most of the time, it is an absolute must. Unfortunately, most of the time it is used and abused to the point where the singer is almost drowning in their own reverb. More often than not, less is more when it comes to adding reverb. In reality, you don’t want to actually hear it in the mix, if you can, there is a good chance you have gone too far with it. What you want to aim for is a reverb level that goes unnoticed until it is turned off. Then you should hear the difference. When you take the reverb away, the vocal should sound empty and lifeless, but when you add it back into the mix, you really shouldn’t notice it to begin with. So, think about that next time you are treating your latest track to a reverb shower and maybe you might just result in a vocal sound that you really like. BY roB gee
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MIXDOWN #251 // MARCH 2015 // PG.31
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INTRODUCTION Can you believe it? It’s already March! This year is well under way and with the cooling temperature comes the opportunity to sit inside and explore some new musical ideas, sounds and of course tone... amplified. That’s why in March we run our annual Amplifier Special. To give all the guitar and bass players out there a good look at some of the best amps that have just hit the market. This month we’ve
included some classic amps, some modern variations of classic amps, some heads, some combos, some bass rigs and even an acoustic amp so no player is left out. No matter what style you play, you’re sure to find something that’ll help you shred your little rock’n’roll heart out while you prepare your next aural onslaught. Remember to visit your local retailer to test and try that next amp. Volumes up!
MARSHALL 2245THW TREMELO HANDWIRED
D I S T R I B U TO R D E TA I L S ELECTRIC FACTORY (03) 9474 1000 – www.elfa.com.au JADE AUSTRALIA 1800 144 120 – www.musocity.com.au YAMAHA MUSIC AUSTRALIA (03) 9693 5111 – au.yamaha.com for Vox amps visit www.voxamps.com
VOX NIGHT TRAIN NT15H-G2 HEAD
RRP: $4499 AMPLIFIER TYPE: Valve Head DISTRIBUTOR: Electric Factory
RRP: $799.99 AMPLIFIER TYPE: Valve Head DISTRIBUTOR: Yamaha Music Australia
RECOMMENDED FOR: Anything where you need a tone with some edge and punch without a lot of unnecessary processing or extra effects. Country, blues, alternative, rock, blues-rock, hard rock, indie, grunge and certain types of metal will work nicely here. Also, if you’re a fan of hand wired reliability, this is a strong contender.
RECOMMENDED FOR: Bedroom-jammers, teachers and those who play smaller gigs. Although it is also capable of powering some bigger gigs too thanks to the punch of its EL84 valves.
SOUND AND VERSATILITY: As a true non-master-volume tube amp head, you really need to crank it if you want to get distortion. But it’s worth it when you do; this amp is incredibly interactive, responding to the nuances of your playing and your guitar’s natural qualities as if the you, your amp and your guitar are one and the same. The bass is tight, the highs have plenty of cut and the midrange has a nice upper-frequency focus that emphasises your pick attack. It’s a direct sound with nowhere to hide. Some players will love that while others will run for the hills. USABILITY: As it’s a head, you can choose which speaker cabinet you use, which lets you tame the volume somewhat and tailor the overall tone depending on speaker type, but this is still a
powerful amp no matter what you plug it into, even though it’s ‘only’ 45 watts. CONSTRUCTION: Legendarily rugged Marshall construction with the classic ‘plexi’ look and a cool vintage style smaller gold logo. OVERALL: A great alternative, blues-rock, classic rock or hard rock amp, but you have to really crank it to get those classic tones. When you do it’s really, really worth it. Your neighbours might hate you for it, but you won’t hear their words of disdain.
SPECS OUTPUT: 30 Watts OHMS: Selectable INBUILT EFFECTS: Tremelo CHANNELS: 2 TUBES: 3x ECC83 Pres, 1x ECC83 Power, 2x KT66 Powers COVERING: Black Tolex WEIGHT: 15.1 kg FOOTSWITCH: Yes MADE IN: U.K
PG.32 // MIXDOWN #251 // MARCH 2015
SOUND AND VERSATILITY: This amp is loaded with those classic bell-like, rounded-midrange tones Vox is known for, as well as thick, crunchy, punchy chording, but there’s a lot more going on here than 60s sounds. For instance, you’ll find slick modern country tones and harmonically rich leads that recall the sounds of Joe Satriani and Gary Moore. The digital reverb provides more of an ambient vibe rather than a spring reverb sound, and it’s well suited to the variety of tones this amp contains. USABILITY: The controls are simple. Separate gain controls for the Bright and Girth channels with a Thick switch shared between the two, a Volume for Girth, shared Treble, Mid and Bass controls and a master section with Volume and Reverb controls and a Dark switch. It’s all laid out logically and intuitively.
CONSTRUCTION: The construction quality isn’t on a par with notoriously road-ready amps like the venerable Vox AC30, but as far as modern amps go (particularly ones that take a bold approach to design) this one is a keeper. OVERALL: A deceptively flexible amplifier that can carry a huge number of tones, starting with the all-important classic Vox sounds (fans would savage the company if they ever dared to leave these tones out) as well as more modern, authentically high-gain sounds.
SPECS OUTPUT: 15 Watts OHMS: 8 or 16 INBUILT EFFECTS: Reverb CHANNELS: Bright, Girth TUBES: EL84’s, 12AX7’s COVERING: Black Chrome WEIGHT: 7kgs FOOTSWITCH: Optional VFS2A MADE IN: China
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AMPLIFIER SPECIAL
VOX NIGHT TRAIN NT50H-G2 HEAD
YAMAHA THR5 COMBO
RRP: $1099 AMPLIFIER TYPE: Valve Head DISTRIBUTOR: Yamaha Music Australia
RRP: $349.99 AMPLIFIER TYPE: Combo DISTRIBUTOR: Yamaha Music Australia
RECOMMENDED FOR: Players of any genre (or players who need to cover every genre, two very different things). This amp is designed to be loud enough for any stage and capable enough for the studio. SOUND AND VERSATILITY: Although visually it suggests to you that it would be a great amp for blues, country and R&B (and indeed it is), what’s really surprising about the NT50H-G2 is that it pushes out extreme levels of controllable distortion that are suitable for some very aggressive flavours of the death metal and djent varieties, as well as crafting more subtle overdrive flavours for stoner rock and classic rock. The reverb is very carefully voiced for usability too. USABILITY: A handful of extra controls (Tone Cut, Thick) help you refine your tone, but the main controls in general are very easy to use. It has separate Treble, Mid, Bass and Gain controls for the Bright and Girth channels, which makes a big difference to
usability and versatility. CONSTRUCTION: Everything about the build quality is rugged and robust, from the well-ventilated cage which keeps the tubes cool and protected at the same time, to the chunkiness of the control pots and jacks. OVERALL: A very tweakable controllable amplifier that will deliver tones ranging from the mellow side for country, jazz and blues to violently aggressive ones and all points in between.
SPECS OUTPUT: 50 Watts OHMS: 8 or 16 INBUILT EFFECTS: Reverb CHANNELS: Bright, Girth TUBES: EL34’s, 12AX7’s COVERING: Black Chrome WEIGHT: 12kgs FOOTSWITCH: Optional VFS2A MADE IN: China
RECOMMENDED FOR: Those looking for a wide range of usable tones primarily for home use, including recording. Also a handy tool for teachers or just anyone who wants a small portable combo.
CONSTRUCTION: Like all amps in the THR range, this is a chunky metallic little box that will withstand a beating. This one is smaller than the ’10’ models, making it even more bedroom-friendly and transportable.
SOUND AND VERSATILITY: With Clean, Crunch, Lead, Brit Hi and Modern voices, plus a wide range of effects (chorus, flanger, phaser, tremolo, delay, delay/reverb, spring reverb and hall reverb, plus compressor and noise gate accessible through the THR Editor software) there’s plenty of tone-shaping capability on this little screamer.
OVERALL: Pretty much the ultimate in small-amp portability and versatility, with plenty of great tones and no fuss. It also helps that it’s stereo so you can use it as speakers for your music device of choice or to enjoy full stereo effects.
USABILITY: Very easy to use; just turn the controls like any other amp. The tap tempo lets you easily set your effect speeds, and the tuner is very handy. The editing software opens up a whole new world of tweaking if you wish to explore it.
SPECS OUTPUT: 10 Watts INBUILT EFFECTS: Reverb, Chorus, Flanger, Phaser, Tremolo, Delay TUBES: N/A COVERING: Metal WEIGHT: 2kgs FOOTSWITCH: N/A MADE IN: China
YAMAHA THR5A COMBO
YAMAHA THR10 COMBO
RRP: $349.99 AMPLIFIER TYPE: Combo DISTRIBUTOR: Yamaha Music Australia
RRP: $449.99 AMPLIFIER TYPE: Combo DISTRIBUTOR: Yamaha Music Australia
RECOMMENDED FOR: Those who use acoustic-electric guitars or Yamaha’s innovating Silent Guitar models, and need amplification or processing for small gigs or recording purposes. SOUND AND VERSATILITY: There are models for various microphone simulations including Condenser, Tube, Dynamic, Nylon and EG CLN (Electric Guitar Clean, which also comes in handy for adding a distortion pedal and getting electric tones out of your acoustic). There are also plenty of effects like chorus, flanger, phaser, tremolo, delay and reverb. USABILITY: Rather than giving you different amp models, this unit offers different microphone models for different purposes, all dialled in via a rotary switch. And once you’ve optimised it for your particular guitar it becomes a very powerful little amp in terms of making it sound more lifelike when amplified. CONSTRUCTION: A very solid, well-designed and attractively-
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colored little amp. And given their small size, the speakers hold up surprisingly well with the full frequency spread and dynamic range of an acoustic guitar. OVERALL: The ideal home/cafe/recording solution for acoustic guitarists who want to get more lifelike response out of their instrument without being overwhelmed with editable parameters (unless you want to delve into the THR Editor software to really get tweaky).
SPECS OUTPUT: 10 Watts INBUILT EFFECTS: Reverb, Chorus, Delay, Compression TUBES: N/A COVERING: Metal WEIGHT: 2kgs FOOTSWITCH: N/A MADE IN: China
RECOMMENDED FOR: Those who love the flexibility of the THR5 but need even more flexibility and volume. Great for teachers, students, songwriters, recorders and jammers alike.
as solid as it looks. Yamaha has done everything right with these not only in pure physical construction but also in clever control layout and attractive visual design.
SOUND AND VERSATILITY: Like the THR5 there are plenty of modes here including Clean, Crunch, Lead, Brit Hi, Modern and Bass as well as a Flat mode for amplifying other modelling devices, but this one bumps it up a notch with a mic-simulating mode for acoustic guitars too. There are also plenty of effects and five user presets.
OVERALL: A very flexible amp with more than enough volume for house-jammin’. Note that Yamaha has upgraded the THR10 to V.2 with even better-quality sound. Often ‘even better quality’ is marketing speak for ‘actually good now’ but in this case it was already good. Now it is indeed even better.
USABILITY: It’s super-easy to dial in a great tone, add effects, save it and recall it as needed. The THR Editor software lets you go into deeper detail with your edits and tweaks. Also works great as speakers for your computer or portable device. CONSTRUCTION: An attractive and very robust box that looks as good as it sounds, and feels
SPECS OUTPUT: 10 Watts INBUILT EFFECTS: Reverb, Chorus, Flanger, Phaser, Tremolo, Delay TUBES: N/A COVERING: Metal WEIGHT: 3kgs FOOTSWITCH: N/A MADE IN: China
MIXDOWN #251 // MARCH 2015 // PG.33
AMPLIFIER SPECIAL
YAMAHA THR10C COMBO
YAMAHA THR10X COMBO
RRP: $449.99 AMPLIFIER TYPE: Combo DISTRIBUTOR: Yamaha Music Australia
RRP: $449.99 AMPLIFIER TYPE: Combo DISTRIBUTOR: Yamaha Music Australia
RECOMMENDED FOR: Anybody looking for boutique-style tones for more elegant and earthy musical styles like blues, country and indie - but with heaviest emphasis on the bluesier side of things. SOUND AND VERSATILITY: There are five separate amp models and plenty of effects so you can cover everything from Albert Collins-style super-clean to SRV-style grit. The feel is surprisingly responsive for a digital amp, and while it never quite crosses over from overdrive to full-on distortion, that fits right in with the intended audience. USABILITY: Anyone who has ever used an analogue amp will have no problem finding their way around the controls on this amp despite its digital innards. Everything is laid out clearly and logically, but there are also USB and AUX jacks and the ability to access further controls via computer if you wish to go non-traditional.
CONSTRUCTION: Feels more solid and hard-wearing than most actual analogue amps. OVERALL: This is a surprisingly endearing and entertaining little box for jamming around the house, recording, playing with friends or rocking out in hotel rooms with. Yamaha has really done the right thing in creating a modelling amp geared specifically at vintage-style tones rather than trying to please everyone all at once and shortchanging the clean and mid-gain fans.
SPECS OUTPUT: 10 Watts INBUILT EFFECTS: Reverb, Chorus, Flanger, Phaser, Tremolo, Delay, Tape Echo TUBES: N/A COVERING: Metal WEIGHT: 3kgs FOOTSWITCH: N/A MADE IN: China
STRAUSS CLASSIC 5 WATT TUBE (SM C5)
RECOMMENDED FOR: Metal players. This one is definitely for those who live for screaming gain and searing metal riffage. It’s definitely not the Yamaha amp for you if you use words like ‘subtle’ and ‘organic’ and ‘quiet.’ SOUND AND VERSATILITY: Yamaha has loaded this box up with multiple high-gain amp models, with Power I and II, Brown I and II (think EVH-style), Southern Hi, plus Clean and Bass as well as a Flat mode for using this amp with other processors or smartphone amp modelling apps. The effects are also very useful, but they don’t have as much character as the killer distortion tones that this amp thrives on. USABILITY: It’s a very simple amp to operate, running very much like a regular analogue amp except with a few extra tricks here and there, but the THR Editor software lets you go deeper into your editing if you’re of the tweaking persuasion. A Tap Tempo control makes it easy to sync the effects up to your song, and you can
SOUND AND VERSATILITY: 6V6 loaded, the SM C5 has a definite vintage vibe that is punchy and warm. The limited control layout does restrict your ability to tweak tones but still has a clear base point that will work nicely for many musical tastes and situations. USABILITY: Straight up and simple with volume, tone and on/off switches, that’s it! It’s designed to let you get on with the jamming rather than fiddling for hours on end.
SPECS OUTPUT: 5 Watts OHMS: 8 INBUILT EFFECTS: N/A CHANNELS: 1 TUBES: Ruby Tube 12 Ax7, 6V6, +62A Rectifier Tube COVERING: Black vinyl WEIGHT: 4.5 KG FOOTSWITCH: N/A MADE IN: China
PG.34 // MIXDOWN #251 // MARCH 2015
OVERALL: A surprisingly loud and versatile practice, jam and even recording amp for metal players, with a huge range of modern and vintage distortion sounds and some very usable effects. And its ability to double as a recording interface and computer speaker really pushes it up into the next level.
SPECS OUTPUT: 10 Watts INBUILT EFFECTS: Reverb, Chorus, Flanger, Phaser, Tremolo, Delay TUBES: N/A COVERING: Metal WEIGHT: 3kgs FOOTSWITCH: N/A MADE IN: China
STRAUSS SRT–15 BUR COMBO for a range of settings and sounds, the SRT-15 provides a decent sonic range for a nice price.
CONSTRUCTION: Coming in black or tweed the SM C5 has more of a square front look going on which I really dig. Strauss amps look retro and cool. I should mention the tough handle too, much better than the flimsy plastic type numbers that come on some amps of similar size and stature.
RECOMMENDED FOR: Bedroom Jamming, practice and recording. Great for blues, rock, and indie style players.
CONSTRUCTION: The solid construction quality means you can take this amp anywhere and feel confident it’ll survive the trip, and the ability to power it with AA batteries helps too.
RRP: $399 AMPLIFIER TYPE: Valve Combo DISTRIBUTOR: Jade Australia
RRP: $249 AMPLIFIER TYPE: Combo DISTRIBUTOR: Jade Australia
OVERALL: Also known as the ‘mouse’ the Strauss SM C5 pushes quite a bit of air for a small-ish 5 watt combo. Whilst low wattage amps have been in vogue for a while now as recording amps, practice rigs and portable options when screaming loud stage volume isn’t necessary, the C5 shows itself as another cool offering from the Strauss line and one that can wear a few different hats.
even use this amp as your computer speakers!
CONSTRUCTION: Lightweight and portable, the SRT-15 is great for throwing on the back-seat to take to jams or rehearsal. It’s tough build can take a beating too which is good. Initially in Black or Cream, this revised model comes in a funky burgundy with white piping - very hip.
RECOMMENDED FOR: Blues, rock, indie, funk, jazz, smaller gigs, rehearsals and recording. SOUND AND VERSATILITY: Clean and pristine with a vintage tinge makes the SRT-15 a nice basis for adding pedals or pushing harder to get some on edge tones. Single coils have a nice jangle whilst hum buckers can really push the amp for 60s and 70s sustaining rock sounds. USABILITY: Easy to dial in a usable tone as a starting point, and then you can then add verb and trem as you see fit. Volume, tone, speed, intensity, reverb and on/off knobs make for a simple and effective layout. Suitable
OVERALL: A vintage sounding combo that’ll do blues, rock, funk, indie and plenty of other styles with ease. It’s easy to handle, easy to carry, easy to set-up and get started with a good price tag to boot. It will suit players wanting something portable and powerful, I can really hear it coming to life in recordings too.
SPECS OUTPUT: 20 Watts OHMS: 8 INBUILT EFFECTS: Reverb and Tremolo CHANNELS: 1 TUBES: Preamp 2 X Ruby Tubes 12Ax7, Power Tubes 2 X Ruby Tube El84 COVERING: Burgundy vinyl finish WEIGHT: 13.25 KG FOOTSWITCH: N/A MADE IN: China
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AMPLIFIER SPECIAL
VOX AC15C1 COMBO
VOX AC15C1X COMBO
RRP: $999.99 AMPLIFIER TYPE: Valva Combo DISTRIBUTOR: Yamaha Music Australia
RRP: $1299 AMPLIFIER TYPE: Valve Combo DISTRIBUTOR: Yamaha Music Australia
USABILITY: You need to control the sound from your volume and tone pots and really work the dynamics to get the most from the speaker within. As it’s only 15 watts, you can get it to break up pretty early, but rolling back the volume will clean this amp up in a snap.
USABILITY: Unfortunately, this version of the AC amplifier is a little stubborn and doesn’t offer as much versatility as one may like. You really only have one of the two channels to work with, without running an A/B switch before your amp. CONSTRUCTION: These are a solid and compact amp with a decent amount of weight in the amp block. Everything about this amp tells you that it is ready to withstand the rigours of live use time and time again.
RECOMMENDED FOR: Housed within a simple design, this is an amp that’s suitable for a range of uses. Being competitively priced, it’s the ideal amp for someone wanting their first valve combo, when moving large amounts of air isn’t paramount, but a decent volume is still required.
OVERALL: You really don’t get much better than the AC15C1 if you want a budget British sounding valve amp with a Celestion Greenback inside. This would have to be the best version of these Vox has released in the last decade and at the best price too.
SOUND AND VERSATILITY: This model has a classic British tone that works well with control from the player and not the footswitch. It does lack clean headroom and will break up when driven, especially on the Top Boost channel. Now coming standard with a Celestion Greenback speaker, the amp is well matched with the output for the overall sound this unit aims for.
SPECS OUTPUT: 15 Watts OHMS: 16 INBUILT EFFECTS: Reverb, Tremolo CHANNELS: Normal, Top Boost TUBES: EL84’s, 12AX7’s COVERING: Vinyl WEIGHT: 22kgs FOOTSWITCH: Optional VFS2A MADE IN: China
CONSTRUCTION: Aside from the speaker, there is no difference to the standard AC15C1 and so the construction is right up there with its counterpart. Ready for action in a studio or on a stage, just be a little careful of the speaker as you’ll run it pretty hard with this amp. RECOMMENDED FOR: This is the AC15 for those of you who are looking for something a little bit different. It’s something special and has a sound that’s deserving of a listen. This is a great amp for running after pedals when you want a very dynamic control over your sound.
OVERALL: We all probably know the sound of an AC15, but the AC15C1X really tightens that tone and brings out the classic sound that most people really want in an AC amplifier.
SPECS
SOUND AND VERSATILITY: Kitted out with a Celestion Alnico Blue speaker, the AC15C1X is the improved version of the AC15 you though you knew. This heavy alnico magnet speaker offers the sound that made the AC30 a classic so many years ago, and it has shades of that tone in the bright top end and mellow low frequencies this amp has to offer.
OUTPUT: 15 Watts OHMS: 16 INBUILT EFFECTS: Reverb, Tremolo CHANNELS: Normal, Top Boost TUBES: EL84’s, 12AX7’s COVERING: Vinyl WEIGHT: 22kgs FOOTSWITCH: Optional VFS2A MADE IN: China
VOX AC15C2 COMBO
VOX AC30C2 COMBO
RRP: $1299 AMPLIFIER TYPE: Valve Combo DISTRIBUTOR: Yamaha Music Australia
RRP: $1499 AMPLIFIER TYPE: Valve Combo DISTRIBUTOR: Yamaha Music Australia
stage amplifier. A little extra volume from the two Celestion Greenbacks and a thicker tone helps it fill the mix more than ever.
amps move a lot of air and deliver an awesome sound, but it may be limited to when and where it can be used.
CONSTRUCTION: There isn’t a great deal that can go wrong with these amps. They are built really well and really only suffer from the occasional dud valve. That said, a full re-valve somewhere in the early stages of its life will eliminate that concern and improve the overall tone too.
RECOMMENDED FOR: There are plenty of guitarists that love the sound of an AC15 but just don’t get enough volume from the amp. For all you guys, this amplifier is for you. SOUND AND VERSATILITY: Although a more common format for the AC30 range, the 2x12 combo is a really clever option for the AC15, and one not always thought of. It has the classic AC15 tone, but with a thicker and richer body to the sound. It isn’t too over the top on volume, but the sound is really full and makes it hard to go back to the single speaker version afterwards. USABILITY: This version makes the AC15 a far more usable amp as the extra speaker moves just that much extra air to make it a very proud
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OVERALL: It is a bit of a dark horse and is often overlooked, but is definitely a contender in the British tone world.
SPECS OUTPUT: 15 Watts OHMS: 8 INBUILT EFFECTS: Reverb, Tremolo CHANNELS: Normal, Top Boost TUBES: EL84’s, 12AX7’s COVERING: Vinyl WEIGHT: 30kgs FOOTSWITCH: Optional VFS2A MADE IN: China
CONSTRUCTION: This is one tough amp build, and it has to be as inside the cabinet is one of the heaviest amp blocks going around for the power. There is a reason why they are built with handles at each end, so make sure you have a friend to help carry this amp around. RECOMMENDED FOR: There is no bigger and bolder amplifier when you want raw British tone and classic looks. Anyone who is a fan of that Brian May sound will want this amplifier. Anyone who just wants more volume than needed in a small stage will love this too. SOUND AND VERSATILITY: The modern AC30 is not far from the classic tone that we all know. It has a bright, belllike top end that sparkles when you want a clean tone and a real growl in the lower range when you drive the two channels together. USABILITY: Make no mistakes, this is a loud amp. It may only be a combo and it may only be 30 watts, but it can strip paint off the walls at ten paces if you so wish. These
OVERALL: There is nothing like an AC30. There have been many copies and you always see people going back to the original. It has a certain mystique about it and holds its rightful place in rock folklore.
SPECS OUTPUT: 30 Watts OHMS: 16 INBUILT EFFECTS: Reverb, Tremolo CHANNELS: Normal, Top Boost TUBES: EL84’s, 12AX7’s COVERING: Vinyl WEIGHT: 32kgs FOOTSWITCH: Optional VFS2A MADE IN: China
MIXDOWN #251 // MARCH 2015 // PG.35
AMPLIFIER SPECIAL
VOX NT15C1 COMBO
VOX PATHFINDER10 RD COMBO
RRP: $1099 AMPLIFIER TYPE: Valve Combo
RRP: $129.99 AMPLIFIER TYPE: Solid State Combo
DISTRIBUTOR: Yamaha Music Australia
DISTRIBUTOR: Yamaha Music Australia
USABILITY: The Girth channel is probably best used for soloing while you’ll get most of your required rhythm tones up to and including chunky crunch from the Bright channel. It does take a bit of tweaking to find your sound but once you get it dialled in, this is a pretty addictive amp.
RECOMMENDED FOR: Those who need a versatile amp and who tend to play very dynamically rather than charge ahead on ten all the time. Although it can get loud, it doesn’t need to be cranked to sound good, so it can be used around the home or in the jam room. SOUND AND VERSATILITY: The Bright channel is designed to encapsulate classic Vox clean and crunch sounds, so the cleans are very clear and ringy and while the Girth channel isn’t quite as full of character, it makes up for it in versatility. The high gain tones seem more useful for saturated, almost fuzz-like solos rather than for metal rhythms, with frequencies voiced to sit on top of raging rhythm section so your licks and tricks can be clearly heard.
CONSTRUCTION: A boxy-looking little affair with a Celestion Greenback speaker, this looks like a classic Vox alright. It doesn’t quite have the hefty, rugged construction quality and it certainly doesn’t have the back-breaking weight of an old AC30 but it doesn’t aim to be an AC-series amp even while paying tribute to its sounds. OVERALL: A good choice for those who are into blues, blues-rock or alternative styles that require a little grit and a lot of dimension.
SPECS OUTPUT: 15 Watts OHMS: 8 or 16 INBUILT EFFECTS: Reverb CHANNELS: Bright, Girth TUBES: EL84’s, 12AX7’s COVERING: Vinyl WEIGHT: 17kgs FOOTSWITCH: Optional VFS2A MADE IN: China
RECOMMENDED FOR: As a beginner looking to get some volume from you guitar, this is a great starting point, but it still has a place in every guitarists home when you can’t turn your valve amp up loud at times. SOUND AND VERSATILITY: This is not some boutique valve amplifier, although it does look like a compact AC30 in many ways. It is a basic circuit, but still exhibits that classic Vox tone in a compact, low volume package. USABILITY: A simple solid state design with essentially one channel that allow you to engage an overdrive. This usually needs volume adjustment when such is done, so they are best left on one or the other setting, depending on which is desirable. CONSTRUCTION: There isn’t a lot going on under the hood
of these amps, so there is very little to go wrong. The cabinet is surprisingly tough for the size, with a solid frame and quality tolex, handle and grill just like that which is found on higher priced Vox amplifiers. OVERALL: These are an often overlooked little unit. I have had one in my home studio for the past six or seven years as a go to amp when I just need to hear my guitar quietly for song-writing ideas.
SPECS OUTPUT: 10 Watts OHMS: 8 INBUILT EFFECTS: N/A CHANNELS: Normal, Overdrive COVERING: Vinyl WEIGHT: 5kgs FOOTSWITCH: N/A
VOX VT20+CL COMBO
HARTKE HD50 BASS COMBO
RRP: $319.99 AMPLIFIER TYPE: Modelling Combo With Tube Power DISTRIBUTOR: Yamaha Music Australia
RRP: $379 AMPLIFIER TYPE: Bass Combo DISTRIBUTOR: Electric Factory
USABILITY: It’s a fairly simple design and it doesn’t need to be any more really. A three band EQ allows you to sculpt the sound to your needs and then is it just all volume after that. It really couldn’t get any simpler. It’s really up to you as the bass player to do the work now.
essentially four different effect sections, three separate point of volume adjustment in the signal path and the ability to create up to eight pre-set sounds. But, once you get your sounds right, it is quick and easy to switch between all eight. CONSTRUCTION: There is really nothing that can go wrong with these amps. They are built pretty tough and the preamp valve will last for years as it isn’t driven too hard in the signal path.
RECOMMENDED FOR: This is the perfect amplifier for the beginner to intermediate player who is looking for a wide range of amp sounds and effects all within one useable combo without too much overwhelming volume. SOUND AND VERSATILITY: With a 12AX7 preamp valve at the front end of this amp, you get a great warm tone no matter what sound you dial in. With over 25 different amp sounds available, there are all sorts of tones that you can pull to suit a wide range of playing styles. From an AC style clean tone, through to bluesy overdrives and right up to high gain metal sounds, it is all in there. USABILITY: This unit can be a little overwhelming with
OVERALL: These are a great amp when you want a bedroom volume option with a wide range of features. They are probably the best sounding amp in this class that I have heard and they are priced well below what you would expect to pay for the range of features included.
SPECS OUTPUT: 30 Watts OHMS: 4 INBUILT EFFECTS: Pedal, Modulation and Reverb (25 in total) CHANNELS: 11 Amp Models TUBES: 12AX7 COVERING: Vinyl WEIGHT: 9kgs FOOTSWITCH: Optional VFS5 MADE IN: Vietnam
PG.36 // MIXDOWN #251 // MARCH 2015
CONSTRUCTION: A tough woven tolex and rigid front grill will see plenty of years of punishment for this amp. The front porting of the cabinet helps project the low end forward from the amp, which helps as there is no option to kick it back for added direction.
RECOMMENDED FOR: This combo will suit a range of uses with enough power to get you through rehearsal sessions. It’s also perfect for the home user when lower volume practice is required. SOUND AND VERSATILITY: The 10 inch HyDrive speaker in this little combo is taken directly from Hartke’s very popular and more expensive range of professional stage amps. This gives you a really solid sound from such a compact amp. You not only get a good amount of low frequencies, but also a really punchy top end for clarity when operating at lower levels.
OVERALL: When Hartke brought out the HyDrive speakers some years back, they always seemed destined to be for big, loud uses only. However, this amp allows you to bring that stage sound into your home and make it manageable for once.
SPECS OUTPUT: 50 Watts OHMS: 4 INBUILT EFFECTS: Limiter CHANNELS: 1 WEIGHT: 17.23 kg MADE IN: China
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AMPLIFIER SPECIAL
HARTKE HD150 BASS COMBO
MARSHALL AS50D ACOUSTIC COMBO
RRP: $749 AMPLIFIER TYPE: Bass Combo DISTRIBUTOR: Electric Factory
RRP: $649 AMPLIFIER TYPE: 50 Watt Acoustic Combo DISTRIBUTOR: Electric Factory
1 inch tweeter that gives the amp a nice sparkle in tone. USABILITY: Designed with a variety of stages and performance spaces in mind, you get a 7-band EQ included with this combo to help sculpt the sound to suit the environment. The added XLR direct output makes it ideal for gig use so you can run straight into the PA for added volume out front.
RECOMMENDED FOR: For those bass players who want a portable amplifier for rehearsals and small gigs, this is a really clever option. It can be used in a home environment, but has enough power to get your through a gig on small to medium stages too. SOUND AND VERSATILITY: With the 15 inch HyDrive speaker as the main driving force for this combo, you get plenty of bottom end. The paper and aluminium cone also creates a punchy midrange and high frequencies are left to the
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CONSTRUCTION: Although this is a fairly large cabinet housing a 15 inch speaker and the amplifier as well, it is easy to get around with the supplied wheels and doesn’t actually weigh as much as it appears to at first glance.
RECOMMENDED FOR: Those looking for a versatile acoustic amp that can handle various different types of instruments and sound transfer methods including magnetic and piezo pickups, as well as passive or condenser mics.
OVERALL: This is a very tidy bass combo. It’s exactly what we have come to expect from Hartke over the years and ticks all the boxes for what it aims to achieve. You could do a lot worse with a combo of this size and still not have the power offered by the HD150.
SOUND AND VERSATILITY: The reverbs are studio-quality, and the speakers (two specially designed 8” Celestions and a polymer dome tweeter) kick out a nice full-range tone that maintains the crisp highs of your instrument of choice. The chorus is thoughtfully voiced to be a supportive effect rather than an overbearing one, and the anti-feedback controls work well.
SPECS OUTPUT: 150 Watts OHMS: 4 INBUILT EFFECTS: Limiter CHANNELS: 1 WEIGHT: 23.58 kg MADE IN: China
USABILITY: The multiple inputs are very handy, as is the Aux input and the effects loop. It’s also great that the reverbs can be assigned to either channel separately or applied to both. It looks like there are a lot of knobs on this amp but it never gets overwhelming.
CONSTRUCTION: A nice solid little amp that’s well laid out and very classy in its visual presentation. Every bit a Marshall, but not your metal band’s Marshall. OVERALL: A one-stop shop for all your acoustic amplification needs, whether you like to plug your guitar in or mic it up, and whether you use piezo or magnetic pickups. The reverb and chorus are subtle and useful, and the tone-shaping capability is geared at getting the best out of your guitar’s natural sound.
SPECS OUTPUT: 50 Watts OHMS: 8 INBUILT EFFECTS: Chorus, Reverb CHANNELS: 2 WEIGHT: 16kg FOOTSWITCH: Yes MADE IN: China
MIXDOWN #251 // MARCH 2015 // PG.37
ROAD TESTS Music Man BH-500 AMP & 810 BS Cabinet CMC Music Australia | (02) 9905 2511 | www.cmcmusic.com.au | RRP: $1295 (BH-500) $2450 (810 BS)
Music Man’s amplifier range was used by many respectable names back in the day, but they’ve been unavailable for three decades. Unavailable, that is, until Markbass/DV Mark designed Marco De Virgiliis hit up Ernie Ball Music Man’s Sterling Ball by email one day proposing his company bring these classic designs back. “I have been approached about re-introducing the Music Man Amps so many times I have lost count,” Ball says. And re-introducing the amp line is exactly what they have done.
EVERYTHING OLD IS NEW AGAIN
And so we have the Music Man BH-500. This head and matching 810BS cabinet are designed with the look and classic tones of the original amps, but are made with modern advanced technology. The BH-500 has a solid state preamp and a 500watt analogue power amp, and a set of quite specific controls: To start with there are treble and bass EQ controls along with gain and volume knobs. These are designed to get you a whole range of tones. There’s also a five-band EQ section which is footswitch-selectable, essentially giving you almost the equivalent of a second channel to sculpt your sound. The frequency bands selected are 67Hz, 184Hz, 510Hz, 1.4kHz and 3.8kHz, and you’re given 16db of boost or cut over each frequency. Around the back you’ll find the speaker outs, delivering 300 watts of power into an 8 ohm cabinet or 500 watts into a 4 ohm cabinet or two 8 ohms. There’s an unbalanced tuner
output which lets you send a signal to a tuner without colouring your sound, or you can use it as a slave out to send your signal to another amp or any recording unit that doesn’t require a balanced signal. This can come in very handy if you wish to use the BH-500 in a multi-amp rig to cover different frequencies. There’s also an effects send and return wired in parallel, and an XLR line out with a pre/post EQ switch and a ground lift. The finishing was a little rough on the review unit but we’re assured that any amps with issues like this will be sorted out before they hit stores.
MAKE SOME MUSIC, MAN
I plugged my Fernandes J-style bass in for testing, and plugged the BH-500 into the Music Man 810 BS cabinet, a 1200W RMS cabinet with eight 10” Neodymium speakers and an adjustable 1” tweeter. It’s worth noting that the cabinet weighs only 40.8 kg, surprisingly light
for a unit of this size. Upon plugging in I was immediately struck by just how ‘vintagey’ this amp sounded. The low end was full and warm, but not in a hi-fi, sub-bass kind of way. Rather, it was voiced with just enough punch and smoothness to sound spot-on for styles like R&B, blues and vintage rock. Similarly, the treble frequencies can be dialled in to enhance detail but they never reach that really strident range that slices through your ears. The midrange can be scooped out or enhanced via the switchable EQ, letting you find that magical sweet spot where your bass’ unique character lives. The gain control is more useful for optimising the input signal level hitting the preamp, rather than actually dialling in overdrive or distortion: You can try to use it for this, but it’ll give more more warmth than grit.
BACK TO BASS
It’s great to have these classic amps back again, and although the BH-500 isn’t the most flexible amp in the world, it offers a great range of control to dial in your ideal sound within the specific range of vintageaccurate tones it works within. BY PETER HODGSON
SPECS SPECS: BH-500 • Preamp: Solid State • Power Amp: Solid State • Power Output: 500w @ 4ohm, 300w @ 8ohm • Controls: Gain, Volume • EQ: Treble, Bass, 5 band EQ, • Weight: 6.2kg • Dimensions: 30.4cm (W) x 45.7cm (H) x 30.4cm (D) SPECS: 810 BS • Speaker Size: 8 x 10” Neodymium custom made • Tweeter: 1” compression driver with custom horn • Cab Power Handling: 1200W RMS • Impedence: 4Ω (mono), 2 x 8Ω (stereo) • Cabinet / Reflex: Sealed / none • Crossover Frequency: 3.5kHz • Sensitivity: 103dB SPL • Dimensions: 58.5cm (W) x 11.59cm (H) x 47.7cm (D) • Weight: 40.8 KG
HITS • Classic styling • Handy footswitchable EQ • The parallel effects loop is a very useful • The BS cab is light, so light!
MISSES • Limited drive capabilities
PG.38 // MIXDOWN #251 // MARCH 2015
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ROAT TESTS
Bugera G5 Infinium Head and 112TS Cab
THIS MONTH’S GIVEAWAY! PAGE 6 FOR DETAILS
Galactic Music | (03) 8813 0241 | www.galacticmusic.com.au SSP: $499.99 (Head) $299.99 (Cab)
With low wattage and small sized heads still high in demand, it makes sense that Bugera would offer something in that realm. In the past the manufacturer has offered a smattering of amps covering the tones of many classics worldwide, but now, after a slight rejig of their lineup, we welcome the G5 Infinium head. Featuring Class A design, Infinium tube life multiplier, reverb, power attenuator and Morph EQ, this is something that’s really unique to Bugera.
5 WILL MAKE YOU GET DOWN
Class A, 5 watts in a small, lightweight modern looking head shell. The tolex looks classy with that slightly spongy feel and the overall style is decidedly black. The G5 is a two channel amp (clean and overdrive) with the ability to run at 0.1, 1 or 5 watts via the selection switch on the rear of the amp. Bugera have also included an emulated output (with 1x12 or 4x12 settings) and effects loop and lie input on the back panel. Flip to the front and the two channels are augmented with ‘Tone Stack’ controls of Treble, Middle, Bass and Morph (more on this in a tick!) and a global Reverb dial.
SPECS BUGERA G5 INFINIUM SPECS • Amplifier type: Valve • Output: 5W Class A • OHMS: 8 ohm (minimum) • Inbuilt effects: Reverb • Channels: 2 • Tubes: ECC83, 12BH7 • Covering: Tolex • Weight: 11kgs • Footswitch: 2 Button Included
INFINIUM
Designed to extend the amp’s tube life, the G5 constantly monitors performance, dynamically adjusting when needed, to allow things such as the effects of aging and voltage variances. Each tube has an LED indicator to highlight when a tube needs replacing, and with the on board auto bias you can just swap in newies with ease.
MIGHTY MORPH
Morph is designed to give you a blend from US to UK styled tones, and whilst it’s not exactly like having separate amps of these varieties, it does give you a taste and the ability blend anywhere in between. US has a
slick, more pristine clean whilst the UK has some extra middy jangle and edge adding extra tonal possibilities to the general tone stack section of the amp.
LITTLE BIG AMP
I really enjoyed playing the G5 and 1 x 12 cab. Open cleans that blend well with the amp’s reverb through to slight overdrive and onto a heavier chug. Bugera’s
‘Tone Stack’ has quite a bit of scope and the ‘Morph’ control then creates an extra angle for both dirty and clean sounds. 5 watts makes it useful for home, recording and small rehearsals and then the attenuator gets you down in wattage even further if you want to push the saturation at lower levels. BY NICK BROWN
112TS CAB SPECS • 80 watts • 1 x 12” Turbosound Speaker • Multiply hardwood soundboard • 8 ohms
HITS • Morph adds some extra eq options • Small, portable, lightweight • 5 watts = Nice tones at lower levels
MISSES • Only 5 watts may be limiting for some
Audio-Technica ATH-M70X Monitor Headphones Technical Audio Group | (02) 9519 0900 | www.tag.com.au | RRP: $399
For decades Audio-Technica have made a name for themselves by creating innovative and clever designs in the world of microphones and headphones. You see them in studios, schools and in daily use all the time. They know what they are doing when it comes to sound. Because of this, I always know that I am in for a treat when I get a pair of Audio-Technica headphones to test out. Knowing this, when an express post parcel landed on my desk with the new pair of ATH-M70X headphones inside, I was more than keen to give them a test drive.
AESTHETICALLY PLEASING
Right from the word go, these headphones just ooze class in a black and silver motif. A rigid zippered carry case houses the headphones for when they are not in use, and a separate zippered pouch within the case contains not one, but three different cables. Two different lengths of straight cable and one curly cable, taking care of every environment you might wish to use these headphones in and not requiring you to purchase extra accessories. This is a really nice touch, and it brings the whole package together. In use, these headphones are fairly lightweight and sit comfortably on the head, with more than
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enough adjustment to suit even my extraordinarily large cranium. Perfect for anyone with a big head, but not limited to any user in particular, they sit well in all situations. The closed design can tend to get a little warm when worn for extended periods, but this does serve as a reminder to give your ears a rest from time to time.
SOUND, SOUND, SOUND
The first thing I heard when I pressed play on a track with these headphones was noise. This really stood out as something to mention as I hadn’t heard that noise before in the track I was playing back, not until I listened to it with the ATH-M70X headphones. This is
SPECS • • • • • • • • • •
an indication of what you get in terms of clarity in playback with these headphones. If it is there, you will hear it and there is really no room for your mistakes to hide. These headphones, as a studio tool, will allow you to pick out not only the good qualities in your music, but all the faults too. These are an excellent addition to any setup to allow you to hear your music
from a different perspective. As a general music listening device, they are just as good if you like picking apart other muso’s work, delivering an even frequency response and a fast transient attack without running too loud and causing fatigue on your ears. BY ROB GEE
Type: Closed-back dynamic Driver Diameter: 45 mm Magnet: Neodymium Voice Coil: CCAW (Copper-clad aluminium wire) Frequency Response: 5 – 40,000 Hz Maximum Input Power: 2,000 mW at 1 kHz Sensitivity: 97 dB Impedance: 35 ohms Weight: 280 grams without cable and connector Accessories Included: Carrying case, 6.3 mm (1/4”) screw-on adapter
HITS • Very comfortable and lightweight • Supplied with three different cable options • Full range sound and a clarity that challenges your production quality
MISSES • They get a little warm over extended listening periods
MIXDOWN #251 // MARCH 2015 // PG.39
ROAD TESTS either a stereo pair, or two separate mono signals. These can be on balanced or unbalanced connections, the SB-6 will treat each one accordingly. The same goes on the other end, with balanced and unbalanced cables being an option. This allows you to run either way with your signal through the SB-6 and take care of ground loop issues and isolate the audio signal from interference before converting it to a balanced signal.
A RANGE OF APPLICATIONS
Radial Engineering Stagebug SB-6 Isolator Amber Technology | 1800 251 367 | www.ambertech.com.au | RRP: $179
It always amazes me how so many people will turn up to a gig and not even consider the need for certain devices. All too often people will use the battered, old, cheap DI box that the venue refuses to throw out even when the results are not that great. Even more often, musicians are prepared to use terrible connections from a range of devices with long cable runs, and simply expect them to sound fine. It is no wonder they then complain about their device not working properly, when the result is a ground hum or hissing from unshielded cables. So, musicians of the world, let me introduce you to the StageBug.
CUTTING THE NOISE
On any stage there is always a range of audio and power cables running all over the place, often crossing each other multiple times. What results is an always unpleasant array of unwanted noise and ground loops. So, with your sound being what you strive to perfect, why not start with removing the noise. The StageBug SB-6 Isolator is a really simple device that allows you to run longer cables to your mixer and not be concerned about the noise they may attract. The simple design allows for two 6.5mm inputs,
I first thought of keyboard players when I got my hands on this unit. But, then I started to think a little more and considered the wide range of uses for the SB-6. The output of a DJ mixer was the next most obvious option in a modern environment. Then, that all too common problem area, plugging an iPod into a mixer with a long cable needed. All of these scenarios will allow you to run short unbalanced cables to the SB-6, and then continue the signal with balanced cables for as long as you require. As this is a passive device, there is no power needed to be supplied. So no phantom power, no batteries and best of all, no messy power supplies. As its passive design is created
with the interest of the audio signal in mind, it doesn’t take anything away from your tone. The SB-6 simply isolates the signal from any noise that it might attract along its journey. A very handy device and something that just about every musician playing live gigs should have. BY ROB GEE
SPECS • Audio circuit type: Passive Transformers • Frequency response: 20Hz20KHz +/-1db • Dynamic range: >140db • Maximum input: >+25dBu • Gain: -2dB • Weight: 408 grams • Size: 114mm x 47mm x 34mm (L x W x D)
HITS • No more hum or unwanted cable noise • Stereo or dual mono operation • Passive operation, so no batteries or phantom power • Detects balanced and unbalanced cables and operates accordingly
MISSES • Outputs are on TRS connectors only
TC-Helicon Ditto Mic Looper Amber Technology | 1800 251 367 | www.ambertech.com.au | RRP: $329
Everyone seems to be going looper mad at the moment. There is a huge range of pedals available to get your guitar and bass loops going on the fly in order to bring some added creativity to your gigs, but what about the singer? Why is it that guitarists seem to get all the cool toys to play with? That is exactly what the team at TC-Helicon were asking a while back, and now they have responded with the very slick and very cool Ditto Mic Looper. Now your vocals can become more than just the one.
THE NEXT STEP
Following the success of the different versions of the Ditto Looper for guitar, it was really only a matter of time before TCHelicon came out with Ditto Mic Looper. With so many of the TC multi-fx pedals focusing on both guitar and vocal combinations, it made sense to give vocalists their own dedicated pedal to make the most of the looping capabilities. The best thing about this is the simplicity of the design. This is a no frills concept that gets the job done and doesn’t try to offer anything fancy when it’s not needed.
ALL FIRED UP
It couldn’t be simpler to integrate the Ditto Mic Looper into your live setup. It only requires an extra microphone
lead, and the pedal is inserted into the audio chain after the microphone. You don’t need to worry about running a separate microphone for it, or splitting off to another channel on the desk as you might with some guitar loopers that offer a microphone input. No, this just gets inserted into your vocal signal path and does it’s thing there. The only adjustment is setting the level that the loops play back at and you’re good to go. Your regular vocals pass straight through the Ditto without any loss of tone and the loops are simply stacked up on top off them. The two button operation couldn’t be simpler, with the button on the right side acting as record, playback and overdubbing and the left hand button working to stop and clear
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SPECS • 24-bit uncompressed audio • 5 minutes of looping • Unlimited overdubs • Undo / Redo function • Automatic Gain Adjustment • Instant one-tap Stop feature • Selectable overdub modes
HITS loops. Undo and redo functions can also be obtained by holding the right button down. That’s it. There isn’t anything else going on, so you needn’t worry about trying to drive the pedal, you can just get on with your performance. Built in a tough case with a wide rubber footing so it doesn’t slip about, this is a great idea as it may not often by used on a pedal board
and will more likely be used by itself on a stage floor. The silent switches engage easily and feel like they will take about as many repetitions as you can muster. All in all, this is a pretty neat little pedal and something that I am sure many singers will be keen to get their feet on. BY ROB GEE
• Solid, sturdy case • Simple operation • Clean sound – what goes in is what comes out • Balanced XLR connections
MISSES • It took too long for this pedal to hit the market • This could lead to the singer taking over, even more of the spotlight
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ROAT TESTS choice in varying tones and sounds. It’s a consistent product whilst retaining a logical and affordable price. This also means that a similar size cymbal (say a 16” crash) will be around the same price across most of their range, giving you options without having to weigh up price constraints.
BLISS
Dream Cymbals Bliss 22” Gorilla Ride Dynamic Music | (02) 9939 1299 | www.dynamicmusic.com.au RRP: $359.95
A relatively new cymbal company, Dream Cymbals and Gongs are made in the famed Wuhan region of China and managed and partnered in Canada. Their line of cymbals and gongs has started to make inroads into a market that’s been quite settled for some time, with a fairly established set of manufacturers. Now with a growing list of endorsing artists worldwide and some impressive business initiatives, Dream look to be a company on the up.
KEEP IT CYMBAL
All Dream cymbals are hand made and hand hammered
utilising copper, tin and other elements to cast a bronze disc. Aged and then heated and
forged with a hammer, they are carefully worked into a raw cymbal state ready for lathing, final hammering and polishing. It’s processes like these that really let you appreciate the skill and effort put into making a quality sounding cymbal.
GORILLA
Coming from the Bliss line of Cymbals, the 22” (aptly named) Gorilla is the second biggest cymbal of the lineup. It’s reasonably heavy, but the Gorilla is fundamentally warm and dark with some extra deep hammering in areas and a 5” bell. Intended as powerful yet articulate, there
is nice clear definition for jazz and lighter sticking which then leads to a tasteful wash when laid into. Heavier players are also in luck with enough volume to cut and the bell adding plenty of scope for big choruses. I could see the Dream working well in many setups when a powerful and slightly darker ride is needed.
TELL HIM HE’S DREAMING…
One of Dream’s other attractive features is its price structure. Aiming to be competitive without sacrificing quality, Dream have built a number of lines of cymbals that offer a
Dream seem to be onto something with their cymbal designs, pricing and company policy. Affordable and musical, but not cheap, low end cymbals by any means. The Gorilla is a ride that could work in rock, jazz, funk and a heap of other settings that need some quick stick definition, a clear bell while retaining the ability to crash with some nice wash. Worth a look! BY NICK BROWN
HITS • Musical and warm • Price is right!
MISSES • May be too dark for some players
CAD U37 USB Microphone Dynamic Music | (02) 9939 1299 | www.dynamicmusic.com.au | RRP: $149
As portable recording has become more prevalent, so too have USB Microphones that can plug straight into a computer or tablet for quick recording and broadcasting. Hailing from Ohio, CAD Audio has been making microphones for many years and boast a fair selection of models for a range of applications, so it makes sense they’d have something in the USB realm too. Let’s check out the U37.
USB
The U37 is lightweight, yet feels fairly strong with the casing and grille protecting it against any minor bumps or knocks. A cardioid condenser microphone, the U37 features a straightforward design with a 0 or -10db switch and flat/ bass roll off switch for quick adjustments. Standard looks all round for the U37, with the exception of the USB input on the base replacing the standard 3 mic pins. A desktop stand and a long USB lead (10 ft) is included meaning you’re good to go almost instantly.
37
Most people would think of broadcast/podcast and multimedia uses when seeing a USB mic (with the implication that it’s that way inclined thanks to the direct computer connectivity) and I’d think that’s
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a great starting point. Mounted to the included stand, it sits comfortably on a desk and its cardioid nature means it’s got strong directivity to the user with a little ambient pickup to the left and right. Voice work for podcasts or quick videos, or getting down ideas straight to your laptop are easy without too much spill from the rest of the room. The U37 is quite sensitive and clean as a starting point and the bass roll off switch can negate some room boominess too if needed. Additionally the -10db cut switch will also aid in reducing hot signals and loud sound sources.
THE VOICE
As a vocal mic the U37 won’t compete with big budget numbers, but as an entry priced condenser it’s a good starting point for recording enthusiasts, songwriters, home
podcasters and anyone needing something inexpensive with USB connectivity. It’ll handle singing and voice work but also could be setup for capturing live performances of voice and guitar (for example where a super wide range or directivity isn’t necessary).
suitable for a range of purposes, the U37 ticks a lot of boxes in the budget microphone market. Realistically it’s not designed for heavy duty tour use or super high fidelity situations, but at this price point it will appeal to a certain user and occasion and does a fine job for that.
HITS
CADDY SHACK
BY NICK BROWN
• Not heavy duty
Easy to use, good response and
• Easy to plug and play • Won’t break the bank
MISSES
MIXDOWN #251 // MARCH 2015 // PG.41
ROAD TESTS fast, with a great smooth finish to the gloss coat. Of course, that wooden arm rest is a real treat to work with, they really are just so comfortable and I can’t even pick on the fret edges here, this instrument feels great. As for the sound, I can’t really see how I can do it justice with just words. You’ll have to hear one for yourself. BY ROB GEE
OME Banjos Primrose Resonator Banjo
SPECS
Gladesville Guitar Factory | (02) 9817 2173 | www.guitarfactory.net | RRP: $6395
Last month I got to fool around with the OME Wizard open back and was rather delighted with that particular instrument. So, when a large, and rather heavy box arrived this month, I was more than eager to get into it and see what was in store for me this time around. Upon opening the well-appointed case, I can simply say that I was taken back with what I saw. The banjo gods have been looking over me this month as I now have the pleasure of taking an OME Primrose Resonator Banjo for a spin. This could only be a whole lot of fun.
THE LOOK
Like any of the banjos from the Custom Series by OME, you know you are getting something really special in the Primrose. This is a really beautiful instrument. I didn’t even play a single note
for about the first five minutes after I took it out of the case. It just kept getting turned over and over in my hands as I appreciated the craftsmanship and finish. The neck is a bold flame maple that shimmers under the rich, dark stain. The
back of the resonator is also a flame maple with some subtle quilting down the grain. On the front the mother of pearl inlays along the ebony fret-board and in the ebony capped headstock really gives this instrument some character. The maple rim is shown off just slightly within the boundaries of the binding, which is a really nice touch, and the mahogany arm rest is just the icing on the cake. Alright, so I think it is safe to assume that I really love the look of this banjo and I am sure you will too.
THE FEEL AND SOUND
This is a heavy banjo, so don’t go complaining when you pick it up and you have to actually use a small amount of muscle to complete the task. But, it is not just heavy for heavy’s sake. The tone ring makes up most of the weight and delivers so much of the sound too. Essentially, you won’t notice the weight once you have played a few notes anyway. It is very well balanced and plays so easily, the weight in the tone ring is neither here nor there. The neck is slim and
• Construction: Maple neck and resonator • Fingerboard: Ebony • Finish: Polished amber • Peghead: Double-cut style • Rim: 3-ply • Inlay: Exclusive Primrose pattern
HITS • Fifth string raised nut and railway spikes for capo • Stunning inlays on both the ebony board and the headstock • Beautiful timbers, especially the flame maple neck • Big, bold sound that rings out for days
MISSES • None!
Behringer X AIR XR18 Digital Mixer For Ipad & Android Galactic Music | (03) 8813 0241 | www.galacticmusic.com.au SSP: $1399.99
The tablet market has certainly been responsible for a range of exciting portable audio solutions that would have never been possible with conventional computers. Because of this, we are seeing a wide range of products, first for the iPad and then for Android tablets, that continue to push the boundaries and change how we as musicians work both live and in the studio. Behringer has certainly done just that with the new X AIR XR18 digital mixer. This is a real game changer and is going to make a lot of people question their existing live setups.
ALL IN ONE BOX
At first, I thought there was some kind of mistake as I was supposed to be testing out a mixer and all I got was the stage box. Then it dawned on me, this was the mixer. All that is needed to complete the console is an iPad or Android tablet to use as a controller interface and the XR18 is ready to go. It really is quite a clever design and one that was so obvious, that I am surprised that no one else thought of it first. So, consider the common setup for a large console in a live
venue. The stage box takes all the inputs and runs them along a long, bulky and expensive multicore cable back to the mixer, which is located at the other end of the room, unable to be moved. Now, imagine that mixer was able to be moved, and carried in one hand so you could access control from any vantage point within the room. Then take away that bulky multicore, after all, they just get in the way. We’ll replace that with a Wi-Fi signal that transmits from the stage box to the mobile mixing console. Now, you can imagine how convenient this is going to be.
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SPECS
ENDLESS POSSIBILITIES
The stage box itself is quite compact and built into a tough and sturdy case, so it can be left on the floor on stage without fear of it being broken. The mixer app then gives you access to all the features you would expect on a large format console, just controlled from your tablet. With 18 Midas preamps in the box, you get great audio quality on the way in and with 6 ends on XLR along with master outputs also on XLR, there are
a number of setup options. Best of all, you can store your mixer settings for different bands, venues and applications for a quick recall and setup. The XR18 even doubles as a USB audio interface with 18 input channels into your recording software. Just quietly, I think this is going to be one of those products from Behringer that will no doubt change the way in which we look at live sound in the future. BY ROB GEE
• 18 wi fi/ethernet controlled channels • 16 Midas designed mic preamps • 18 x 18 channel bidirectional USB direct recording interface • Award winning X32 effects rack featuring 4 stereo FX slots • 6 aux and 2 main XLR outputs • Built in tri-mode wi fi router
HITS • Compact and lightweight • Built ready for stage use, one the floor, like a stage box • Doubles as a serious 18 channel audio interface • Works with Behringer Personal Monitoring Systems
MISSES • No standalone option, requires a tablet or computer to function
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ROAT TESTS
NOCS NS900 Professional DJ Headphones Electric Factory | (03) 9474 1000 | www.elfa.com.au | RRP: $299
Every now and then a new contender makes their mark in the fight for headphone supremacy. This battle is usually fought in the DJ realm, where the weak are usually quickly separated from the strong and those that remain do so for a reason, and not because they bear the name of some rap star or come in a range of fancy colours. So, I am always willing to entertain the idea of a new contender, introducing NOCS with their NS900 headphones.
JUST LISTEN
When all is said and done, headphones are really about sound. Form and function are also important factors to be considered, but ultimately sound should always be the deciding factor. So, I immediately went to my personal selection of tracks that separates the strong form the weak when it comes to testing a set of headphones. Pleasantly, I got what I was hoping for with the NS900s. As a set of DJ headphones, I wasn’t looking for a perfectly flat frequency response, but rather one that allowed me to hear the essential elements in the track and to be able to do so with plenty of headroom too. Don’t misinterpret what I am saying here though. These are not in any way lacking due to their frequency response, they are simply not designed for
critical studio listening. In a loud DJ booth when you need to hear your cue tracks, these headphones will perform very well, reminding me of certain German models that have been popular the world over.
SPECS
THE LOOK AND FEEL OF IT ALL
Well, let’s try and forget the looks. Yes, they are sleek and stylish, but that is about as far as it should go. These are a tool, so functionality should trump aesthetics here, and though they look good, it shouldn’t be the drawcard of the product. They are built really well, and that is important. The headband takes a lot of stress and will easily take any punishment you throw at it. The compact ear pads don’t pinch the ears or allow them to heat up with extended use either. They are easily adjustable for length, but sadly don’t allow the user to invert them for single
• Drivers: 40.0 mm titanium coated • Sensitivity: 110 dB @ 1 kHz • Impedence: 32 Ohm @ 1 kH • Frequency: 20 Hz – 20 kHz • Cord length: 1.4 m
HITS ear monitoring. That said, they can be remounted to the frame to offer this monitoring method, but it require disassembly and cannot be done on the fly. Bundled with a carry bag and a range of cables, the NS900 will not only work for you in a DJ booth, but they can connect to your iPhone or iPad as well with
a comms connecter, allowing a built-in microphone in the specific cable to work with your phone. Of course, as they are Swedish designed, form and function is appealing with these headphones, but at the end of the day, the sound will prevail.
• Crisp transient response at low and high volumes • Lightweight, comfortable design • Works with DJ consoles, iPhones and iPads • Built ready for DJ booth abuse
MISSES • Limited flexibility in ear pad placement
BY ROB GEE
Music Man 112-RD 50 Combo CMC Music Australia | (02) 9905 2511 | www.cmcmusic.com.au | RRP: $1895
The classic Music Man amp is back in production. Utilising a highly respected amp builder to do the manufacturing, industry heavyweights and good mates Sterling Ball and Marco De Virgiliis breathe life back into Music Man once more.
NEW MEETS OLD
Looking like a classic Music Man amp, these new offerings follow their original looks beautifully with similar styled control layout. Working along the lines of the original amp you’ll find two solid state channels ‘Clean’ and ‘Limiter/Distortion’ that run into a pair of 6L6 tubes in the power section. One new point of difference however is the use of a DV Mark designed ‘NeoDymium’ 12” speaker. Well known for their lightweight speakers and amp designs with MarkBass and DV Mark, this inclusion reduces the 112 RD Fifty’s weight to just under 12 kgs whilst still retaining classic speaker characteristics.
MUSIC, MAN
Simple in approach, the clean channel has controls for volume, treble and bass with an
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additional bright switch that livens things up a bit if needed. Adding in some of the spring reverb, you get a nice array of rounder jazz and blues tones through to glassier chime and onwards to surfy sounds on a strat. Whilst mostly known for their aforementioned clean tones, the Limiter/Distortion channel also opens up some warm and round vintage type dirty tones that’d be good for blues, rock and roll and indie vibes. It won’t do super scooped chuggy metal, but pulls some pretty good rock tones that’ll work for 70’s rock and jangly overdriven modern sounds. All in all, it sounds like a good range of what you’d expect to hear from a 112RD 50 combo.
BACK TO THE FUTURE
Opening with the tag line ‘Back To The Future,’ the new Music Man Amplifier advertising
SPECS • • • •
is definitely hyping the reintroduction of some classic amps and probably with good reason. For many players the original MM’s were (and still are) great sounding amps from a reputable company, and it seems that this combination between Ernie Ball and DV Mark/Markbass works well. Sterling Ball himself has mentioned that there have been several approaches regarding reintroducing the Music Man line over the years,
but he hasn’t had someone who would do it justice. Now with Marco De Virgiliis and his operations in tow, it seems like it’s a solid match and the right time to bring back the MM name. There’s a definite vintage look, feel and sound to the 112 RD 50, and for me the neo speaker makes the whole package so much more manageable whilst retaining a solid tone. Awesome! BY NICK BROWN
Channels: Two Preamp CH1: Solid State Preamp CH2: 2 x 6L6 Speaker: 1 x 12” Custom Neodynium • Power output: 50W • Dimensions: 45.6cm x 52cm x 25.4cm • Weight: 11.9kg
HITS • True to the original in looks and tone • Neo speaker reduces overall amp weight • Two reputable companies involved
MISSES • Serious vintage lovers might not dig the Neo speaker
MIXDOWN #251 // MARCH 2015 // PG.43
ROAD TESTS Shure QLXD24/BETA58 Wireless Microphone System Jands Australia | (02) 9582 0909 | www.jands.com.au | RRP: Call for pricing
With the digital dividend about to kick in for radio transmission here in Australia, it is good to see a range of new wireless microphone systems hitting our shores that work within the new confines of the digital transmission laws. One such system, the Shure QLXD24, is one that I’ve wanted to test out for a while now, given that I have used just about every other Shure wireless system of late and I was keen to give this one a run-in. The good news is that this month I’ve had the opportunity to do just that, and I was rather impressed with the results.
UP AND RUNNING
Within a few minutes of having the box open, I had the QLXD24 ready to go. I love it when simplicity in design results in a quality product like this. There’s a lot going on under the hood of this half rack spaced receiver, but you need not worry about any of that, as it is designed to do the thinking for you. Upon start-up, the QLXD4 receiver scans for available frequencies, then it takes a matter of moments to sync it up to your receiver and you are ready to go. That’s it. It is about as close to plug and play as you can get with a wireless system. Should you be operating a number of these units, you can manually assign them to certain channels and sync them separately to their appropriate devices. If you
are taking it one step further, Ethernet networking is available with mobile monitoring so you can control every aspect of the digital signal chain should you wish. But, for my purposes of running a single unit, it is so much simpler to just let the QLXD4 do the thinking for me.
SPECS • Compatible systems per frequency band: 17 per 6 MHz TV channel, 22 per 8 MHz TV channel • Auto set up features: Scan • Auido reference companding: No • PC control: Yes • Receiver network ability: WWB6 • Rack hardware: Included
IN THE HAND
In this system, I tested out the QLXD24/BETA58 wireless transmitter. With a pair of AA batteries inside they are supposed to run for about 9 hours, depending on conditions. So, what did it sound like? Just like a BETA58 essentially, perhaps with less noise, yet still retaining that BETA58 high frequency response. The 24 bit digital transmission means you get pretty much everything that
HITS
goes in at one end coming out the same at the other. A full frequency response is delivered, just like if you were using a high quality cable, nothing is lost,
even the lower frequencies. The only real issue was that I had to give it back! BY ROB GEE
Hermida Audio USA Zendrive Effects Pedal The Hermida Audio Zendrive pedal was originally roduced in small numbers by Alfonso Hermida, who worked for NASA prior becoming a pedal designer. He designed the Zendrive when trying to capture tones inspired by Robben Ford, finally locking down a final version in 2004. The originals sell for high figures on the used market, but the Zendrive is now made by Lovepedal in a much more affordable form. The Zendrive has four controls: Volume, Gain, Tone, and Voice. Battery access is the oldfashioned way: unscrew the bottom of pedal. Otherwise there’s a 9v DC jack below the input jack. For testing I used a Michael Kelly 1957 guitar, a Telecaster-like design with a flame maple top, Michael Kelly humbucker in the neck position and Seymour Duncan Little ’59 in the bridge (with coil splits for each pickup), through my Marshall DSL50’s clean channel. The first three knobs do pretty much what you’d expect, although they seem carefully voiced to never, ever make you suck. The fourth is really fun because it utterly revoices the pedal. Turn all the way to the left and the sound becomes
very dark and deep, yet it never looses power. Go all the way to the right and it becomes extremely edgy and cutting, with that same hair and grit around the edges that you would expect from a very high-quality valve amp turned up very, very loud. The Zendrive has a cutting upper-midrange poke, and this voicing is slightly deceptive in that it makes you feel like you’re playing through more gain than you are, perhaps at louder volumes than you are as well. It seems to goosethe guitar sound in just the right frequencies to give you that same kind of confidence in your playing that you feel when you’re hiding behind a wall of gain, and yet it preserves every little detail and nuance and makes you want to play at your best.
PG.44 // MIXDOWN #251 // MARCH 2015
MISSES • None!
amazing that a pedal designed with one particular sound in mind is so very interactive and adaptable, but there it is. And the Zendrive pumps out enough output to work really nicely as a boost pushing an overdriven amp into distortion. This is one of those pedals that rewards you for investing time in it and for listening to it and reacting to it rather than simply playing through it. It’s definitely one for those who want to be heard rather than players who want to mesh into the musical landscape.
Gladesville Guitar Factory | (02) 9817 2173 | www.guitarfactory.net | RRP: $229
THE PACKAGE
• HITS • Quick and easy setup • Excellent transmission range without interference • Outstanding frequency response from digital converters • Sounds just like a BETA58
BY PETER HODGSON
SPECS
GETTING ZEN
There are some really amazing tones lurking in the extremes of the Tone and Voice pedals, especially when you max out one and turn the other right down. In other words, if you’ve got the Voice control cranked to its edgiest, you can soften the corners by turning down the Tone control. Or if you’ve
cranked Tone to ten, you can get a smooth, creamy, sunnysounding solo voice by turning Voice all the way down. There are also various ‘sweet spots’ here and there that you’ll find as you explore different balances of these two controls, and some of them are emphasised more when the gain is lower rather than higher. It’s kind of
• Controls: Volume Gain, Tone and Voice knobs • Power: 9V DC adapter jack/9V battery clip • Bypass: Bypass footswitch (true bypass)
HITS • Powerful midrange cut • Flexible Voice control • Well made
MISSES • None. Awesome pedal.
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ROAD TESTS SPECS
DV Mark Triple 6 III Guitar Amp Head CMC Music Australia | (02) 9905 2511 | www.cmcmusic.com.au RRP: $2495
I’m sure most of you know about the Mark Bass range of amplifiers. We’ve reviewed plenty in Mixdown over the last couple of years and they’re renowned for being lightweight and standing out ahead of the pack with their vibrant black and yellow designs. However, if you’re unfamiliar with DV Mark, their electric guitar range of amplifiers, listen up as the new Triple 6 III amp is just one example of how, in a relatively short time, DV Mark have been able to take an Amp and make it shine.
NEW ATTIRE
For those of you who used or own the original Triple 6, you will instantly notice the new housing on this version. Gone is the metal grill and almost industrial, rack-like look of the first model. The Triple 6 III is now housed in a tidy looking tolex covered wooden cabinet,
that sports a low profile, yet still bears some resemblance to its predecessor. It does have quite a unique look about it, especially with the side mounted handle design that’s paired up with rubber feet on the opposite side. This allows you to carry the Triple 6 III with a lower centre of gravity for easier transport.
Plus, it allows for other units to be stacked on top without the handle getting in the way. A big point of difference in the look is the DV Mark logo which lights up. Yes, it has a light. But, the Italians have put some thought into this having it change colour depending on what channel you are on, marking it easy to know what is going on with your amp at a glance.
LET’S GO
It isn’t all about the looks though, what we really care about is how this amp sounds. The first word that comes to mind is ‘loud’. The KT77 power amp stage has plenty of headroom and it shows from the clean channel right through to the dirtiest of tones, and dirty is where it head pretty quickly. Each channel is independently voiced with a separate three
band EQ on top of that. After the warm clean channel though, straight away it gets pretty dirty. The second channel is a little different to the original with more of a crunchier sound to it than the previous high gain version. Channel three is left to the serious high gain. This really works in the amp’s favour as it brings some more versatility to the three channels, although channel 2 can still be wound right up for a ripping sound if you want. On top of this, there is a boost option available from the footswitch that adds 6dB after the preamp stage to any channel, allowing you to stand out for solos, or just get that extra volume you need to drown out the other guitarist. BY ROB GEE
• Power output: 120W • Preamp tubes: 3x ECC83 • Power tubes: 2 x KT88, 1 x ECC83 • Channels: three • Controls (each ch): Gain Master - Presence • EQ Controls (each ch): Bass Mid - High • Speaker outputs: 4, 6, 8 Ohms • Dimensions (W/H/D): 10.35” / 26.3cm | 22.63” / 57.5cm | 8.07” / 20.5cm Weight: 26.67 lbs / 12.1 Kg OTHER FEATURES: • MIDI ports • Switch Loop Assign rotary control • Channels switch • Send FX level switch 0/-15 dB • Smart Controller • Voltage selector 120V/240V
HITS • It has a cool light that changes colour with channel selection • Plenty of headroom for any application • Lightweight and compact design • Three very different, very usable channels
MISSES • Channel switching is located on the rear when not using the footswitch
Godin Montreal Premiere Dynamic Music | (02) 9939 1299 | www.dynamicmusic.com.au | RRP: $2999
Hailing from Canada, Godin have an interesting setup with six separate factories throughout the country producing their range of acoustic and electric guitars. The thinking is that although there are some added logistics, the smaller factory sizes promotes a more intimate and involved working environment and that is then reflected in the instruments they make.
WALK THE (THIN) LINE
A thinline semi hollow body electric, the Montreal Premiere sits comfortably in weight and size somewhere between a solid body feel and an archtop. With Canadian Cherry top, back and sides, Godin’s design includes a ‘breathe through’ carved spruce core that is aimed at adding resonance to the overall tone. There are some usual suspects in the rest of the build with a mahogany set neck and rosewood fingerboard. This sunburst finish looks great and loaded with a bigsby tremolo setup and tune-o-matic styled bridge. It leans a little more to the vintage/rock/blues sound and style (although there are
SPECS
some variations in this line with P90s, stop tail piece and more).
WHAT’S GODIN ON?
I’ll be honest, the first thing I did was play a big 6th chord and try the Bigsby and it was great fun! The bouncy resistance and subtle feel makes for a really musical tool. The Montreal Premiere sounds big and rich and resonates nicely. There’s a little chunk in the neck which feels great for this type of guitar. It’s not a huge baseball bat but definitely has a little size to it, although you’ll not notice it after a little playing thanks to the beautiful gloss finish. Woody and round on the front pickup with some fat edge if you pump the tone control, anything
PG.46 // MIXDOWN #251 // MARCH 2015
from thick voiced jazz chords to big open chord rock. Hit the bridge and you’ll get some bitey twang for blues and rock or more atmospheric tones with some variation. My only wish would be for independent volume and tone controls for each pickup to really allow you to flick between sounds at will.
MR BIG(SBY)
I can think of a couple of good situations where the Montreal Premiere may fit the bill. Semi
hollow jangle tones with the bigsby for some added vibe, jazz guys wanting something thinner than a big body hollow archtop, rockier guys wanting a double bucker guitar with some extra hollow tones and those just after a solid axe with a good feel and nice finish that plays well. Its light, decently priced, can cross quite a few genres and sounds awesome. I want one. BY NICK BROWN
• Top, Back & Sides: Canadian Wild Cherry and carved spruce core • Neck: Mahogany • Fingerboard: Rosewood • Finish: custom polish high gloss with double bound binding • Pickups: 2 x Custom Godin Humbuckers • Switches: 3-way toggle, 1 x Volume, 1 x Tone • Bridge: Graphtech ResoMax bridge system.
HITS • Semi hollow and bigsby open up some cool tones • Nice feel and finish • Neck is great.
MISSES • Only comes with a gig bag (no hard case)
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C F Martin Guitars & Strings Proudly Distributed by Electric Factory Pty Ltd 188 Plenty Road Preston VIC 3072 martin@elfa.com.au www.elfa.com.au