Mixdown Magazine #214

Scan the code to check out the line, hear tones and share the GVT experience

SLIPKNOT BLACK LIPSNICK LOWE

AUSTRALIA’S ONLY NATIONAL STREETPRESS. MADE BY MUSICIANS FOR MUSICIANS.

ISSUE 214FEB 2012FREE

INTERVIEWED:THE DRUMSGIRLSJINJA SAFARI BAND OF SKULLSCOLIN HAY

MIXDOWN VISITS NAMM 2012

NOW IN FULL COLOUR! VISIT OUR NEW WEBSITE WWW.MIXDOWNMAG.COM.AU

ROAD TESTED:AMPEG GVT15-112 GUITAR AMPHIWATT BUSKER AMPRADIAL HAMPPLANET WAVES CABLE STATIONSR TECHNOLOGY JAM 150W ACOUSTIC COMBOAKAI PRO DELUXE DISTORTION VOX VALVETRONIX TONELAB ST

GIVEAWAY:PRESONUS AUDIO BOX STUDIO

POWER IN THE PALM OF YOUR HAND

Artists include :: Foo Fighters, U2, Karnivool, System of a Down, Alter Bridge, Biffy Clyro, The Who

MiBass 220$599RRP

MiBass 550 $899RRP

Proudly distributed by: MUSICLINK AUSTRALIA 29 South Corporate Ave. Rowville VIC 3178 P: +3 9765 6565 F: +3 9765 6566 W: www.musiclink.com.au

FEBRUARY 2012 NO. 214 MIXDOWN PG. 3

BEFORE YOU TAKE THE STAGE, YOU GO TO GREAT LENGTHS TO MAKE SURE EVERYTHING IS JUST RIGHT. YOUR GUITAR TONE IS NO EXCEPTION. THE NEW ALL-TUBE AMPEG GVT GUITAR AMPS DELIVER THE KIND OF GREAT-SOUNDING, FLEXIBLE TONE THAT WORKING GUITARISTS DEMAND. WITH A VARIETY OF TONES FROM CLEAN TO CRUNCH, IT’S ONE LESS THING YOU NEED TO WORRY ABOUT. HELL, YOU MIGHT EVEN HAVE TIME FOR ANOTHER DRINK BEFORE YOUR SET. WELCOME TO YOUR OWN PRIVATE HAPPY HOUR — AMPEG GVT.

Scan the code to check out the line, hear tones and share the GVT experience

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XDV30 Features:

“For somebody like me who fl ips and throws the

microphone quite a bit, XD-V70 is easy to handle

and set up without compromising sound quality.”

(Panic! At The Disco)XDV70 Features:

@zackdft 2011. Used under permission.

Musiclink Australia29 South Corporate Ave. Rowville VIC 3178 P: +3 9765 6565 F: +3 9765 6566

To take advantage of this limited offer go to yamahabackstage.com.au to reserve your copy now!Uniting two of the world’s most powerful music software applications brings to you the all-in-one solution for creating music at an irresistible price. Designed for professional artists, Cubase 6 and Halion 4 combine the best sound quality, intuitive handling and a vast range of highly advanced audio and MIDI tools for composition, recording, editing, sound creation and mixing.

Key features Turns any computer into your very own music production system

Based on proven Steinberg Cubase and Halion technology used by professionals around the world

State-of-the art audio/MIDI recording, editing,mixing and mastering tools

State-of-the-art sound design environment developed according to the requirements of professional sound designers

Virtual Analog Synthesis Engine offers multiple oscillator types, additional sub and noise oscillators and cross-modulation support

VST Expression 2 support for unique instrument articulation management and expression control on single-note level

MegaTrig for easy programming of playing styles and articulations without page-filling scripting

Integrated MediaBay sound management system for immediate access to the library

Flexible Quick Controls per program and layer for instant access to sound and FX parameters and easy automation in the host

The Steinberg Music Production and Sound Creation Suite consists of Cubase 6 and HALion 4. # The combined RRP’s of these two products when purchased separately is $1028. * Only 100 units available in Australia.

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TWENTY CUSTOM COLLECTIONNEW VIBRANT VOICES

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INFERNO # BEHEMOTH

The Twenty Custom Collection is hand crafted for a vast variety of modern musical settings. The warm and rich «Full» models are developed for a wide range of musical applications – from R&B rooted music to Rock/Indie oriented genres the «Full» cymbals cover it all. Designed for higher volume spectrum, the forceful brilliant «Metal» assortment provides you with ultimate projection and power embedded in a warm overall sound. This series is customised for the sound of the future.

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PAUL STANLEY McKENZIE # GORILLAZ SOUND SYSTEM

PG. 6 MIXDOWN NO. 214 FEBRUARY 2012


PUBLISHERFurst Media

EDITOR IN CHIEFAleksei [email protected]

EDITORIAL CO-ORDINATORLachlan Kanoniuk

PRODUCTION MANAGER:Patrick O’Neill

COVER ARTPatrick O’Neill

MIXDOWN OFFICE3 Newton StreetRichmond VIC 3121Phone: (03) 9428 3600Fax: (03) 9428 3611

ADVERTISINGAleksei Plinte, Ronnit Sternfein

GRAPHIC ARTISTSLuke Benge, Gill Tucker

LOGO DESIGNwww.furstmedia.com.au

CONTRIBUTORSPeter Hodgson, Rob Gee, Nick Brown, Adrian Viol, Ali Edmonds, Terry Hart, Rod Whitfi eld, Will Teasle, Matt Petherbridge

ZAKK WYLDEPAGE 26

NICK LOWEPAGE 34

THE DRUMSPAGE 28

JINJA SAFARIPAGE 32

CONTENTSFOREWORD

Ever get that feeling, that urge, that deep seeded longing for something new to add to your arsenal of gear? Well, this issue we quench that thirst and fulfi ll that cavernous gap inside of you with a stack of new instruments and pro audio equipment that has just been launched at the world-famous LA gear convention NAMM. Product News lets loose on all the new gear about to be released and hitting our shores soon, staff writer Peter Hodgson gives us the insider’s goss on a stack of new guitar releases and we review all the very latest equipment available now in Australia in our Road Test section. Oh yeah, and as always we catch up with some of the world’s fi nest about to head down for Soundwave, Bluesfest, Womadelaide, Laneway and more! We can’t wait to lap up the last of this summer’s shows, so come join us – front and centre!

If you want breaking news, giveaway exclusives and all the latest in the industry, join us online at www.facebook.com/mixdownmagazine and check out our site www.mixdownmag.com.au for more.

Tune In, Drop Out, Read On - Mixdown.

Aleksei PlinteEditor In Chief

10 GIVEAWAYS12 NEWS & TOURS16 PRODUCT NEWS24 NAMM26 ZAKK WYLDE SLIPKNOT28 THE DRUMS BAND OF SKULLS30 BLACK LIPS GIRLS32 BEN KWELLER JINJA SAFARI34 NICK LOWE MARSH Q & A36 UNLEASH YOUR INNER ROCK GOD WHAT’S THAT SOUND? - GUITAR38 CLASSIC KEYS WHATS THAT SOUND? - KEYS40 HOME STUDIO HINTS BANGIN’ THE TUBS42 ROAD TESTED

FOR MORE INFO

www.sae.edu.au

CALL: 1800 SAE EDU

CERTIFICATE, DIPLOMA & DEGREE COURSES IN:

Audio ProductionFilm ProductionLive Sound ProductionElectronic Music ProductionInteractive Digital Media – Web Design


MIXDOWN GIVEAWAYS

STRUM ROCKTUNE

tuning distilled

Tel: 1800 251 [email protected]

TC’s PolyTune® was a multiple-patents-pending, total tuning turnaround that has guitarists everywhere wondering how they ever got by without it.

Now there’s PolyTune® Mini - the world’s smallest polyphonic tuner. Just strum your guitar and PolyTune® Mini shows the tuning of all strings simultaneously. So you can tune up and get back playing in seconds!

PolyTune® Mini is perfect for when size really matters. No other tuner takes up so little space on a pedal board (…so more room for more pedals!)

Check out the new PolyTune® Mini at your nearest Authorised TC Dealer

www.ambertech.com.au/polytune-mini

polytune® mini

LAST MONTH’S WINNER

*Competition Disclaimer* All Mixdown Magazine competition winners agree to having their loacation, name and photo with themselves and their prize published in Mixdown Magazine and online. All entrants must be residents of Australia.

MEINL CLASSICS CUSTOM MATCHED CYMBAL SET

Massive thanks to everybody who had a shot at picking up the very tasty MEINL Classics Custom Matched Cymbal Set, many of you correctly identifying the one and only Jorma Vik as The Bronx/Mariachi El Bronx drummer, and his favourite cymbal as the 24” Byzance Ride – a ride he gave a good thrashing when in town, eh? As y’all know, there can only be one winner, and this month we give a massive congratulations to Lockie James from Ranelagh TAS. Ride on!

FEBRUARY GIVEAWAY PRESONUS AUDIOBOX STUDIO USB BUNDLEWant to enter the world of home recording but don’t know where to start? Well the fi ne folks at PreSonus have got you well and truly covered, with their Audiobox USB Bundle. To quote our Road Test in this issue, “The package comes with just about everything you need to get started. Firstly, you get Presonus’ most popular USB audio interface, the Audiobox USB, which takes care of your input and output options for the computer. On top of that, you also get a Presonus M7 condenser microphone, a pair of Presonus HD7 headphones, a USB lead and a microphone lead to get it all connected. Furthermore, the package comes complete with a copy of Presonus’ Studio One Artist software and a getting started guide, so you have no excuses for not getting creative in no time at all.” For your chance to win, simply tell us the name of the fancy new wireless mixer control iPhone app from PreSonus? Check out the PreSonus Facebook page, click “like”, email us the answers and you’ll go into the running to win.

Email your answers with your full name, full address and contact telephone number. Good luck!

THE NEW STANDARDTh e H2n is Zoom’s most innovative handheld recorder to date. We’ve packed groundbreaking features into an ultra-portable device that allows you to record pristine audio anywhere you go. From fi lm and broadcast, to journalism, podcasting, musical performance, songwriting and rehearsal. Th e H2n: the very best in stereo recording in a user-friendly package that fi ts in your pocket.

THE FIRST PORTABLE MID-SIDE RECORDERMid-Side recording combines a uni-directional Mid mic that captures sound directly in front and a bi-directional Side mic that captures sound from your left and right. Increasing or decreasing the level of the Side mic, you can control the width of the stereo fi eld, giving you incredible fl exibility over your recordings. Record in RAW mode & you can adjust stereo width aft er recording.

CREATE STUNNING SURROUND SOUNDUsing the Mid-Side and X/Y mics together, you can create stunning 360° surround sound recordings. Choose between 2-channel mode (combines the Mid-Side and X/Y mics), and 4-channel mode (records two separate stereo fi les), allowing you even more post-production capability. No matter which mode you use, you’ll get perfectly balanced, surround sound recordings.

ANALOGUE GAIN CONTROL & MORE Digital volume controls off er too much or too little gain, with no middle ground. Th e H2n’s analog Mic Gain wheel allows you to dial-in the perfect amount of gain for any given application. Other handy new features include larger 4.5cm LCD screen, onboard reference speaker, USB2.0 & data recovery functions. Plus the H2n can run on two AA batteries for over 20hours.

zoom.co.jp dynamicmusic.com.aufacebook.com/ZoomAustralia

Available now with Two Years Warranty from your Authorised Australian Zoom dealer

Th e new Standard

ENDLESS BOOGIE


NEWS & TOURS

PIAF attendees Slow Club have announced a run of dates surrounding their appearance at the Perth festival. 2011 saw the photogenic UK duo release the raucous sophomore LP Paradise, which continued Slow Club’s run of steady critical acclaim. The February visit will mark the folk-pop two-piece’s welcome return to Australia, giving us another chance to witness the long-standing musical partnership of Rebecca Taylor and Charles Watson.

Three of the biggest names in Melbourne’s progressive metal scene are teaming up for the massive Swarm Tour, with Twelve Foot Ninja, Jerrico and Circles heading off around the country this March. Twelve Foot Ninja suspected their live performance was suffi ciently honed when they were invited to support international acts Periphery and Tesseract last year. Alternative rock maestros Jericco are gearing up to offer their adoring fan base a taste of things to come, with the band set to drop a much-anticipated album this March. Relative newcomers Circles will lend their unique take on progressive metal to the cracking tour lineup.

ROCK THE BAY 2012

SLOW CLUB TWELVE FOOT NINJA

February 26 – PIAF (w/Neon Indian), Perth WAFebruary 29 – Beach Road Hotel, Sydney NSWMarch 1 – GoodGod, Sydney NSWMarch 2 – Workers Club, Melbourne VICMarch 3 – Ed Castle, Adelaide SA

March 1 – The Basement, Canberra ACTMarch 2 – The Patch, Wollongong NSWMarch 3 – The Annandale, Sydney NSWMarch 10 – Enigma Bar, Adelaide SAMarch 24 – The Evelyn, Melbourne VICMarch 29 – Mac’s Hotel, MeltonMarch 30 - Ferntree Gully Hotel, Ferntree Gully VICMarch 31 - Pelly Bar, Frankston VIC

TOUR DATES:

TOUR DATES:

The team behind Brisbane’s Rock The Valley and Sydney’s Showdown At The Annandale have announced the lineup for Melbourne’s fourth annual Rock The Bay festival – and it’s a doozy! Brisbane heavyweights Dead Letter Circus headline the festival along with triple j favourites Floating Me, and some of Australia’s fi nest in Twelve Foot Ninja, Bellusira, Tim Mcmillan Band, Ten Thousand,

Bugdust, New Skinn, WA’s I Said The Sparrow, Moroccan Kings, Poetikool, SA’s Justice [not the French banger duo] and heaps more.

February 18 – The Espy, St Kilda VIC

TOUR DATES:

With their bio on the Golden Plains Sixxx bill simply stating “Does exactly what it says on the pack,” rock ‘n’ rollers Endless Boogie will bring their no-nonsense boogie. The ridiculously enjoyable outfi t started out as a hobby project for a few ageing music nerds, and had their big break after being championed by Steve Malkmus of Pavement. Their laid-back style somehow generates overwhelmingly

psychedlic grooves, ones that at times really do seem endless. In a good way. Catch them in action at their Golden Plains Sixxx sideshows.

March 8 – The Jubilee Hotel, Brisbane QLDMarch 9 – The Sando, Sydney NSWMarch 10 – The Tote, Melbourne VIC

TOUR DATES:


SELLING FAST

SELLING FAST


February 24 – Prince Bandroom, Melbourne VICFebruary 25 – Rocket Bar, Adelaide SAFeburary 26 - Perth International Arts Festival, Perth WAFebruary 29 – Neverland Bar, Gold Coast QLDMarch 1 – The Zoo, Brisbane QLDMarch 2 – The Standard, Sydney NSW

TOUR DATES:

2011 proved to be a standout year for Neon Indian [aka Alan Palomo], with the release of Era Extrana buildng upon the stellar 2009 debut Psychic Chasms. After the rise and fall of chillwave, Palomo has consolidated himself above and beyond the genre, venturing into darker territory than displayed on the shimmering debut. Now Australian audiences can grab their fi rst taste of the latest LP in the live setting, with Neon Indian touring alongside an appearance at PIAF.

NEON INDIAN

THE MENZINGERS

EMA THE MOUNTAIN GOATS

MICHAEL ROTHER

NEWS & TOURS

Iconic Australian post-punk outfi t Hoodoo Gurus are celebrating the 30th anniversary of their recording career in the biggest way possible, bringing out an incredible array of seminal acts to tour the country, with festival-sized celebrations hitting Sydney and Melbourne. Garage rock progenitors The Sonics, legendary Australian outfi t Died Pretty, US hard-rock outfi t Red Kross, Japanese rock and rollers (and Tarantino favourites) The 5.6.7.8’s, US garage icons The Fleshtones, fi lthy Aussie punk legends The Hard-Ons, local psychedelic rock outfi t The Lovetones and many

more will join the Gurus – who will be performing Stoneage Romeo in full – around the country this April. Check out www.digitup.net.au for full lineup details in each city.

Rising punk rock band The Menzingers create a rousing sound featuring crashing power chords, rock steady drumming and anthemic sing-along choruses alongside powerfully poetic everyman lyrics. The group is set to release their Epitaph Records debut album On The Impossible Past this February 17th. The Menzingers will be on tour in Australia as part of the Soundwave Festival in

February and March, which will also see the band perform alongside former Mixdown cover stars Bad Religion, Strung Out and Street Dogs in select Sidewaves.

Already announced for her debut Australian appearances around Laneway Festival 2012 and supporting the UK’s Yuck, EMA will now also perform a headline show at Melbourne’s iconic Tote Hotel. South Dakota songwriter Erika M. Anderson’s devastating, poetic, deeply emotional album is nothing short of gut-wrenching. It’s sparse and full of reverb and like all our favourite Nineties girls’ albums rolled into one.

Making waves across the country and over airwaves throughout 2011, I, A Man are gearing up to release their hotly-anticipated debut full-length on February 13, entitled You’re Boring Us All. It’s a sentiment that you’re unlikely to hear from

punters as the captivating troubadours head out around the country to help celebrate the launch, and if their set at Falls Festival over New Year’s is anything to go by, audiences are in for a right treat.

April 20 – The Tivoli, Brisbane QLDApril 22 – Enmore Theatre, Sydney NSWApril 24 – HQ, Adelaide SAApril 25 – The Palace, Melbourne VICApril 28 – The Astor Theatre, Perth WA

February 27 – The Palace, Melbourne VICFebruary 29 – Big Top Luna Park, Sydney NSW

February 3 – East Brunswick Club [w/Yuck], Melbourne VICFebruary 4 – The Tote, Melbourne VICFebruary 9 – Oxford Art Factory [w/ Yuck], Sydney NSW

May 1 – The Bakery, Perth WAMay 3 – The Great Northern, Byron Bay NSWMay 4 – The Zoo, Brisbane QLDMay 6 – The Metro, Sydney NSWMay 8 – The Clarendon, Katoomba NSWMay 10 – The Corner, Melbourne VIC

March 15 – The Zoo, Brisbane QLDMarch 16 – Adelaide Festival, Adelaide SAMarch 17 – Oxford Arts Factory, Sydney NSWMarch 19 – The Corner, Melbourne VIC

February 24 – Northcote Social Club, Melbourne VICMarch 8 – Kobra Kai Club, Brisbane QLDMarch 9 – Solbar, Maroochydore QLDMarch 11 – Pure Pop Records (acoustic set),

St Kilda VICMarch 15 – Fbi Social, Sydney NSWMarch 16 – The National, Geelong VICMarch 17 – Ed Castle, Adelaide SAMarch 24,25 – The Hills Are Alive, Gippsland VIC

TOUR DATES:

TOUR DATES:

TOUR DATES:CLINIC DATE:

CLINIC DATE:

TOUR DATES:

HOODOO GURUS DIG IT UP INVITATIONAL

I, A MAN

After releasing All Eternals Deck to critical acclaim last year The Mountain Goats will be bringing their unique brand of Americana storytelling to Australian audiences this May. The Mountain Goats have amassed a devout Australian following, especially after memorably warming hearts at the infamously soggy 2008 Meredith. Presenting a delightful mix of heartfelt lyrics, idiosyncratic vocal delivery and meticulous arrangements, The Mountain Goats put on a live show like no other.

Presenting music by NEU!, Harmonia and selected solo works in a world premiere performance, Michael Rother with special guests Dieter Moebius (Cluster, Harmonia) and Hans Lampe (NEU!, La Dusseldorf) are touring Australia. We will be lucky enough to experience an unprecedented meeting of great musical minds with heavyweights of Krautkrock and German experimental electronica coming together for one magnifi cent performance. Support at all shows comes from rising Melbourne outfi t Baptism Of Uzi.

2011 turned out to be quite a year for Snakadaktal. The band took out triple j’s Unearthed High competition on the back of their very fi rst single, ‘Chimera’, whilst the accompanying Neverland-themed clip racked up 130,000 views on YouTube. Now, in 2012, supported by triple j and Groupie, Snakadaktal are pleased and proud to announce that they’ll be taking to the road for their fi rst ever national tour.

March 15 – Bended Elbow, Geelong VICMarch 16,17 – Northcote Social Club, Melbourne VICMarch 22 – Transit Bar, Canberra ACTMarch 23 – Oxford Art Factory, Sydney NSWMarch 24 – Northern Star, Newcastle NSWMarch 30 – Speakeasy, Perth WAMarch 31 – Ed Castle, Adelaide SAApril 12 – The Zoo, Brisbane QLDApril 13 – Beach Hotel, Byron Bay NSWApril 14 – The Loft, Gold Coast QLD

TOUR DATES:

SNAKADAKTAL

Fri 9 - Mon 12 March 2012

Botanic Park Adelaide

BOOK AT WOMADELAIDE.COM.AU

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Full line up out Now!

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PLUS: KidZone, Taste the World, a Global Village,

visual arts, street theatre and so much more!

See Website for full line up!

Baaba Maal Senegal Mad Professor UK Dirty Three Australia Tété

Senegal/France Pajama Club New Zealand Joe Bataan & The I Like It Like

That Orchestra Philippines/USA/Australia Tinariwen Mali Penguin Cafe UK

Toninho Ferragutti Brazil The Bombay Royale Australia Electric

Wire Hustle New Zealand Lo’Jo France Eddi Reader Scotland Staff Benda

Bilili Democratic Republic of Congo Groundation Jamaica/USA Chic USA Grace

Barbé Seychelles/Australia DJ Krush Japan Kimmo Pohjonen Finland Shane

Howard Australia Gurrumul Australia The Pitts Family Circus Australia

Nano Stern & the Sindicato Chile Mo’ Horizons Germany Cambodian

Space Project Cambodia/Australia Frigg Finland/Norway La Voce Della Luna

Italy/Australia Anda Union China Pascals Japan Narasirato Solomon Islands

Chris Finnen Australia TORI Ensemble Korea Bunna Lawrie Australia

Sivouplait Japan Shantala Shivalingappa India The Picture Box

Orchestra Australia/UK/India Tenzin Choegyal & Monks of TIBET Tibet/Australia

ARTISTS INCLUDE


March 10 – Fly By Night, Fremantle WAMarch 16 – The Corner, Melbourne VICMarch 30 – The Zoo, Brisbane QLD

April 13 – Adelaide Uni Bar, Adelaide SAApril 20 – Manning Bar, Sydney NSW

TOUR DATES:

For a band that never expected to play more than one show, The Beards have certainly come a long, long way. The Beards will take their Having A Beard Is The New Not Having A Beard Australian

Tour to all states this March and April, spreading their steadfast message: Grow a beard. Check out www.facebook.com/TheBeardsAustralia for full tour details, including regional dates.

THE BEARDS

I AM GIANT

I Am Giant started 2012 with the awesome news that the video for their fi rst single ‘Neon Sunrise’ made it to the top fi ve in the Rage Top 50 videos of 2011. I Am Giant have spent most of 2011 touring through Australia, New Zealand, Asia and the UK supporting the release of their critically acclaimed debut album. After touring through Australia last year with Dead Letter Circus and Trial Kennedy, I Am Giant are returning to Australia to play their

own gigs in Sydney, Melbourne, Brisbane and Perth.

February 15 – Beach Road, Bondi Beach NSWFebruary 16 – The Espy, Melbourne VICFebruary 17 – Amplifi er, Perth WAFebruary 18 – X@Y, Brisbane QLD

TOUR DATES:

NEWS & TOURS

The tsunami of Sidewaves just keeps on coming, with a triple bill of shit-hot punk bands hitting Brisbane and Melbourne. Heading the bill will be Unwritten Law, who inhabit the upper echelon of successful punk bands. The critically acclaimed outfi t pack plenty of substance, resulting in a tangible sense of longevity. Joining Unwritten Law

on the night will be the always explosive Zebrahead and Swedish powerhouse Royal Republic.

February 28 – The Hi-Fi, Brisbane QLDFebruary 29 – The Espy, Melbourne VIC

TOUR DATES:

UNWRITTEN LAW


Taylor Guitars, are readying their fan-favourite Road Show event for its second tour in Australia. Making a series of eight stops. Now in its sixth year, the Taylor Guitars Road Show brings together

guitar enthusiasts and Taylor experts straight from the company’s factory in El Cajon, California for a lively run of in-store event.

TAYLOR GUITARS ROADSHOWPRODUCT NEWS

For more information on Taylor Guitars, phone Audio Products Group on (02) 9669 3477 or visit www.audioproducts.com.au

ROADSHOW DATES:Febru ary 7, 6.30pm – Wollongong Music, Wollongong NSWFebruary 8, 6.30pm – Guitar Factory, Parramatta NSWFebruary 9, 6.30pm – Derringers, Forestville SA

February 10, 6.30pm – The Music Spot, Brisbane QLDFebruary 11, 3.00pm – Mooloolaba Music Centre, Mooloolaba QLDFebruary 13, 7.00pm – Cranbourne Music, Cranbourne VICFebruary 14, 7.00pm – Keyboard Corner and KC’s Rock Shop, Boronia VICFebruary 15, 6.30pm – Mega Music, Perth WA

ZOOM B3

TC - HELICON VOICELIVE PLAY

MARKBASS 10TH ANNIVERSARY BASS AMP & CAB

For more information on the Zoom range of products contact Dynamic Music on (02) 9939 1299 or visit www.dynamicmusic.com.au

Zoom’s B3 Bass Effects and Amp Simulator combines the ease of a stompbox pedalboard with the power of a multi-effects processor and a USB audio interface. With complete control over individual effects and amp modelling you can change your tones on the fl y for both stage and studio use. The B3 offers three large LCD displays and corresponding footswitches that form a graphical interface, allowing you to utilize up to three stompbox and amp effects simultaneously. The interface has also been simplifi ed with three control knobs for each display.

TC-Helicon is already widely regarded as a benchmark for high-end vocal processing solutions with a customer base that includes some of the

world’s most demanding live performers, studios, producers, broadcasters & recording engineers. With the release of their new VoiceLive Play Vocal Harmony & Effects Processor, TC-Helicon has now put their ground-breaking technology within the reach of every singer. The VoiceLive Play is packed with a host of professional vocal effects, harmonies and rehearsal features that until now were available only with much more expensive systems.

To celebrate the phenomenal success of their fi rst decade, Markbass has produced a limited edition set of their two most popular models – the Little Mark LM III amp head and the Traveler 102P speaker cabinet. For this limited run, both pieces feature an eye catching chrome fi nish, and are specially badged as Limited Edition 10th Anniversary releases. Due in Australia in February, just 20 of these 10th Anniversary packs will be available through Markbass’s premium Yellow Point dealers.

BESPECO CABLES & STANDS

HUGHES AND KETTNER TILT KIT

For more information on Bespeco cables and stands contact Dynamic Music on (02) 9939 1299 or visit www.dynamicmusic.com.au

Bespeco are situated in Ancona Italy and since 1982 have been bringing their Italian style to the manufacture of accessories for musical instruments for 30 years. Now they are fi nally available in Australia. Their microphone stands feature their super-convenient “Push & Roll” mechanism on the telescopic boom that makes quick onstage adjustments only a press of a thumb away.

Remember that episode of The Simpsons where Homer invented that tilting chair? Great idea, huh? Well now you deck out your Statesman Combo amp in a similar fashion! The Tilt Kit allows safe positioning of your Statesman Combo slightly tilted backwards – enabling you to achieve an ideal radiation angle to ensure that the sound is directed at your ears, not your legs.

TC Electronic’s original PolyTune was the world’s fi rst polyphonic tuner…a multiple-patents-pending, game-changing total tuning turnaround that has guitarists across the world wondering how they ever got by without it. Now TC has unveiled the PolyTune Mini - the world’s smallest polyphonic tuner. Sometimes size actually does matter and when it does, TC’s PolyTune Mini is the perfect solution. No other tuner in the world will take up so little space on a pedal board, which means more room for more pedals!

MiniBrute is Arturia’s new analogue synthesiser. With a pure analogue signal path and several innovative features, it sets a new standard for what a hardware synthesiser should be. The pure analog, multi-wave oscillator combined with a huge sounding classic multi-mode fi lter and wide range of modulation capabilities will

bring new life into your recordings and stage performances.

TC ELECTRONIC POLYTUNE MINI

ARTURIA MINIBRUTE

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

For more information on the Arturia range of products, contact CMI on 03 9315 2244 or visit www.cmi.com.au

For more information on the Hughes And Kettner Tilt Kit, contact CMI on 03 9315 2244 or visit www.cmi.com.au

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

For more information on the Markbass range of products, phone CMC Music on (02) 9905 2511 or visit www.cmcmusic.com.au

For your nearest authorised Peavey dealer: Call 1300 13 44 00 visit: www.peavey.com.au

Innovation. Amplified.™

Console-style powered mixers,

loaded with tools for perfect

live sound reinforcement.

XR1212P RRP$1,699

XR1220PRRP$1,999

Designed with 12 (XR1212P) or 20 (XR1220P) reference-quality XLR microphone input channels and five operation modes, the XR 1200 Series are extremely versatile mixers. Two power amps delivering 600W each make it easy to configure for:

Left + RightLeft + Right with crossed over output for powered subwooferMain + MonitorMain + Monitor with crossed over output for powered subwoofer Monitor 1 + Monitor 2

XR 1200 Master Section

Auto EQ sets EQ filters to improve sound quality and reduce feedbackDual 9 band graphic equalisersFeedback Ferret® digital feedback eliminationDigital effects processor featuring configurable effects such as reverbs, delays and chorus

IPRTM lightweight Class D power amps make these mixers extremely portable.

XR 1200 RTA

The built-in Real-Time Analyser analyzes the room and sets your EQ curves automatically when a microphone is connected.

INNOVATION + AMPLIFICATION THE PERFECT MIX

XR 1200 Mixers

YEAR WARRANTY5


PRODUCT NEWS

ALLEN & HEATH GLD

KORG SV-1 STAGE VINTAGE PIANO

For more information on the Allen & Heath range of products, phone TAG on (02) 9519 0600 or visit www.tag.com.au

Allen & Heath has unveiled GLD, a user-friendly, cost effective and scalable live digital mixing system, conceptually based on the hugely successful digital iLive series. A standard GLD 32 input system offers 28 XLR mic inputs with plug n’ play I/O expanders allowing easy expansion up to 48 inputs (44 XLR mic inputs). At the heart of the system is the GLD-80 mixer, providing 48 input processing channels, 8 stereo FX returns fed by

iLive’s acclaimed FX emulations, 30 confi gurable buses, 20 mix processing channels, and DSP power to provide full processing without compromise.

Combining great looks and incredible sounds, the SV-1 has been captivating audiences since 2009. Now, the acclaimed Korg SV-1 Stage Vintage Piano has been given an elegant matte black stage fi nish. Presenting the SV-1 Black; available with 73 or 88 keys. Stage. Vintage. Piano. The name pretty much says it all.

KORG SE2200A MK2 BLACKSTAR HT-METAL PEDAL

For more information on the Korg range of products, phone Music Link on (03) 9765 6565 or visit www.musiclink.com.au

For more information on the Blackstar range of products, contact National Audio Systems on (03) 9761 5577 or visit www.nationalaudio.com.au

The SE2200a MK2 Multi-Pattern condenser microphone uses a hand-crafted, 1” gold sputtered diaphragm, based on the original SE 2200a capsule, but a ‘back-to-back’ version which allows for multiple polar patterns (Cardioid, Figure of 8, Omni). The multi-pattern SE2200a MK2 has been designed in response to feedback from many current 2200a users who love recording with the mic and have asked for a multi-pattern version. The MK2 has also been given a face lift with sE’s new custom black rubber paint fi nish, which is both stylish and practical.

The new HT-METAL valve distortion pedal is a no-compromise, two channel, ultra high gain, fi lth machine. Powered by true 300V high-voltage valve circuitry, this pedal offers cascaded tube gain stages and authentic tube amp response. Each ultra-high gain channel offers its own gain and volume controls. Channel 1 is equipped with a Clean/Overdrive switch. The three-band EQ includes Blackstar’s patented ISF (Infi nite Shape Feature) control, which re-voices the entire tone stack from British Heavy Metal to US High Gain. No compromises, no excuses, no apologies – stay Metal!

AUDIO-TECHNICA 50TH ANNIVERSARY

Audio-Technica commenced business in 1962 and has grown to become one of the world’s largest pro audio manufacturers. 2012 marks a major corporate milestone - the 50th Anniversary of this powerful Japanese success story. To celebrate, the company are introducing a raft of 50th Anniversary products including microphones, headphones and cartridges that express the spirit of the company. All feature a distinct Audio-Technica 50th Anniversary design and color scheme, including the stunning urushi lacquer fi nish AT4050URUSHI with hand-painted Japanese maple leaves, the AT4050/LE multi-

pattern condenser, AE5400/LE cardioid condenser handheld, AE4100/LE cardioid dynamic handheld, AE6100/LE hypercardioid dynamic handheld and ATM25/LE a re-emergence of the classic ATM25 hypercardioid dynamic instrument microphone, a favourite for kick drum, toms and other highly dynamic instruments.

For more information on the Audio-Technica range of products, phone TAG on (02) 9519 0600 or visit www.tag.com.au

SPEAKER CABINETS MADETO YOUR SPECIFICATIONS.

AN EXTENSIVE RANGE OFSPEAKERS AVAILABLE.

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E-mail: [email protected] more information on the Korg range of products, phone Music Link on (03) 9765 6565 or visit www.musiclink.com.au

Partnering for impactSM Marsh is one of the Marsh & McLennan Companies, together with Guy

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JIM BROKE HIS BASSAND COULDN’T AFFORD ANOTHER ONE UNTIL HE GOT A JOB.

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limitations of cover please refer to the specific Product Disclosure Statement which is available from Marsh Pty Ltd.


PRODUCT NEWS

Heads up bargain hunters, Samson Resolv studio reference monitors are now at all new RRPs, Starting at an amazing $374 RRP. Samson has combined precise engineering and the highest-quality components with an elegant new cabinet design, providing extremely accurate monitoring for recording studio, post-production and other multimedia applications. For critical listening, the

highest quality speaker components are found on the new Resolv monitors. Nice.

Allen & Heath has added two new models to its ZED range of multi-purpose live sound and recording mixers. The new ZED-16FX and ZED-18 each have 10 fully-featured mono channels and 3 or 4 dual stereo channels, respectively, fulfi lling the demand for increased channel counts in a compact format. In keeping with the rest of the range, both mixers have a connection for USB send and return for recording, playback and effects. The 10 mono Mic/Line inputs feature Allen & Heath’s acclaimed DuoPre two stage preamp, 3-band MusiQ EQ with

swept mid frequency, and 100mm faders, all in a compact, rack mountable format. The stereo inputs have 2-band EQ and inputs for extra sources, and there are 4 Aux’s accessible from each mono and stereo channel.

SAMSON RESOLV REFERENCE MONITOR

ALLEN & HEATH ZED-16FX & ZED-18

For more information on the Samson range of products, phone Electric Factory on (03) 9474 1000 or visit www.elfa.com.au

For more information on the Allen & Heath range of products, phone TAG on (02) 9519 0600 or visit www.tag.com.au

The Multiac Nylon Duet Ambiance features state of the art custom electronics by Fishman that allows the player to select between 4 individual mic settings. Choose between these blendable sound imaging mics via the 4-way selector switch. This makes it the ideal guitar for players looking for an incredible amplifi ed nylon string sound and feel in a live and loud band setting with virtually no feedback. And hey, she’s a looker to boot.

Designed by Greg Rich and inspired by the pioneering designs of the Golden Age, guitars and mandolins by The Loar combine expert craftsmanship and classic designs with upgraded features to appeal to today’s players. From premium tonewoods to original inlay detailing, each instrument is made for the best sound, playability and timeless beauty. The Loar are now available in Australia, with the archtop guitars and mandolins already available with the small body acoustic guitars coming soon.

As you would expect, the fl ow of announcements from NAMM 2012 has been well and truly epic, and there has been more than a few tasty offerings from Ampeg and Ashdown. From Ampeg we have the stunning Heritag B-15 bass amp (pictured), the beastly Micro CL- Stack, and the tasty Heritage R-12R guitar amp. Not to be outdone, Ashdown are unleashing their ABM1000 and ABM2000 bass amps, the CTM-3000 classic tube amplifi er, and more than a few tantalising products that will rise over the horizon sometime in 2012.

Sleek, self-contained, and ready for stage, studio or the DJ scene - introducing the mini Kaoss Pad 2 – with onboard MP3 playback. Korg’s Kaoss Pad Series products have become the must-have effect units in every musician’s rig – especially on the DJ scene. The original mini Kaoss Pad has earned enormous popularity for packing full-fl edged effects into its compact body. Now, welcome the mini Kaoss Pad 2.

For more information on the Godin range of guitars contact Dynamic Music on (02) 9939 1299 or visit www.godindirect.com.au

For more information on The Loar guitars and mandolins contact Dynamic Music on (02) 9939 1299 or visit www.recordingkingdirect.com.au

For more news on the Ampeg and Ashdown range of products phone Music Link on (03) 9765 6565 or visit www.musiclink.com.au


GODIN MULTIAC NYLON DUET AMBIANCE NATURAL HG

THE LOAR GUITARS & MANDOLINS

AMPEG & ASHDOWN NAMM ANNOUNCEMENTS

KORG MINI KAOSS PAD 2

With Hartke’s HyDrive series, you get the best of both worlds – the warm tone of traditional paper cones and the clear, punchy attack of aluminum. HyDrive’s patented Hybrid Cone Technology produces a speaker that uses an outside paper cone to push a warm, deep low frequency and an inner aluminum cone that produces mids and highs that cut while still remaining sweet. The result is a revolutionary improvement in bass speaker technology.

Look out, It’s a totally new Kaossilator! Introducing the KAOSSILATOR 2; the palm-size phrase synthesiser that can be played by anyone, at any place, and at any time. Introduced in 2007, the Kaossilator has won high acclaim as the original gadget instrument and gave rise to the Kaossilator Pro and iKaossilator for iPhone. Now say hello to the impressive Kaossilator 2. Boasting a powered-up sound generator, Kaossilator 2 delivers synth and drum sounds spanning a wide range of genres, plus dramatically expanded loop recording. Kaossilator 2 is packed with capabilities that can be enjoyed alone on or together with other people.

HARTKE HX112 KORG KAOSSILATOR 2

For more information on the Hartke range of products, phone Electric Factory on (03) 9474 1000 or visit www.elfa.com.au



PRODUCT NEWSSAE INSTITUTE & QANTM COLLEGE

SLAM DRUM HEADS

HAME SPEAKER CABINETS

MARSH MUSICIANS’ EQUIPMENT INSURANCE

If you haven’t guessed already, back to school season is here again in full swing! SAE Institute is Australia’s defi nitive creative media college providing specialist training that is designed to advance your knowledge and technical skills, inspire artistic independence and encourage your creative confi dence. A key part of SAE’s degree and diploma courses are setting you up with the newest technology, a hands on approach to learning and a foundation, knowledge and network of like minded creatives so that your education is put into practice once you graduate. QANTM College is the other arm of SAE and is at the forefront of digital media education in Australia. One of the fastest growing sectors in

the country, QANTM College offers specialised industry-focused courses in 2D and 3D animation, games design, games programming, interactive digital media, and graphic design – all aligned with emerging industry trends and technologies. Students are taught by passionate, industry-experienced professionals who are dedicated to providing high quality practical learning and inspiring creative confi dence to ensure graduates acquire immediate entry into the workforce.

With Australia’s Grand Slam fi xation of the tennis variety over for another year, it’s time to turn our focus to another kind of grand Slam. We’re talking about the ace new range of Slam drum heads, Control rings & drum patches. Slam heads are available in thin and medium varieties - one and two ply, and in clear or coated hydraulic. There’s

a massive variety of sizes and fi nishes available to suit every drummer’s taste.

Hame Speaker Cabinets began around fi ve years ago when Hame couldn’t fi ndthe speaker cabinet he wanted in any stores. Naturally, he set about making one himself. Soon after that, a new business was formed. Hame prides himself on quality materials and fi nish and quality service. When you order a cabinet you get detailed updates throughout the build process, as

well as photos so you get to feel involved in the whole process from start to fi nish. There is also a wide range of speakers available from the world’s leading brands.

Marsh can arrange cover which aims to ensure your equipment and instruments are repaired or replaced if damaged or stolen anywhere in the world.

You can also organise cover for your legal liability (excluding USA or Canada) as a musician if you cause injury to other people or damage to their property when performing.

With over 10 years of experience in arranging

insurance for musicians, Marsh can arrange cover for you whether you’re on the road, in the studio or just playing around.

UNIVERSAL AUDIO APOLLO

Apollo is the fi rst professional, high-resolution computer audio interface that delivers the sound, feel, and fl ow of analogue recording. This 18 x 24 FireWire/Thunderbolt-ready interface combines genuine UA analog design with class-leading 24-bit/192 kHz sound quality and onboard Realtime UAD Processing. Using Apollo, music producers and performers can fi nally track audio through a range of classic UAD analog emulation plug-ins —

from Neve, Studer, Manley, Lexicon and more — in real time, and with a sleek, elegant workfl ow on both Mac and PC.

For more information on the Universal Audio range of products, contact CMI on 03 9315 2244 or visit www.cmi.com.au

For more information on both SAE and QANTM visit www.sae.edu.au and www.qantm.com.au

For more information on the Slam rage of products phone Jade Australia on 1800 144 120 or visit www.jadeaustralia.com.au

For more information about Hame Speaker Cabinets, phone 0417 484 115 or visit www.hame.com.au

Find out more at marsh.com.au/musicians or call 1300 760 171

SCHERTLER YELLOW BLENDER

SAMSON CL7

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

For more information on the Samson range of products, phone Electric Factory on (03) 9474 1000 or visit www.elfa.com.au

The Schertler brand name has long been famous for providing some of the world’s fi nest precision transducer & amplifi cation systems for acoustic instruments. Now the specialist Swiss manufacturer has released their latest creation – the stunning Yellow Blender – a Class-A Preamp and Mixer/Blender. The new Yellow Blender further enhances Schertler’s internationally acclaimed range of high-performance acoustic instrument preamps and features a modern sophisticated design, user-friendly interface and pure Class-A electronics.

Introducing another musically empowering Samson condenser mic. Like the fi nest studio mics costing hundreds, even thousands of dollars, the CL7 has a true capacitor condenser mic element. Capacitor-based elements are warmer, brighter and bigger sounding than electret-based elements. The CL7 features a large, 1.1-inch, ultra thin diaphragm capsule which faithfully reproduces a variety of sound sources including vocals, acoustic instruments and overhead cymbals, to name just a few.


PERFORMANCEYOU CAN TRUSTYour audience deserves to hear every note, every word, and every beat. PRX600 Series speakers were designed from the ground up to perform in the real world where diffi cult acoustical environments, high ambient noise levels or loud volumes are the norm. With four new full-range models and two new subwoofers you can tailor a system to fi t your unique needs. And our 60 years of building speakers is engineered into every PRX600. Knowing that you can rely on your system to deliver gives you the freedom to deliver your very best.

That’s performance you can trust.

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GEARGASM: MIXDOWN VISITS NAMM 2012

Yamaha scored one of the biggest hits of the show with the THR series of amps. Sure, other companies have modeling amps with effects, other companies have USB recording interfaces, other companies have monitors, but nobody does it like this, all wrapped up in an attractively 50s-looking unit. The tones - especially the mid-gain ones - are stunning and it sounds great cranking out riffs or playing MP3s from your laptop or iPhone.

Peavey introduces the AT100, an inexpensive solidbody electric with inbuilt autotune software. That’s right, the guitar doesn’t actually mechanically retune itself: instead the software does it all for you between the pickups and the output jack. And Peavey’s Devin Townsend baritone 7-string is fi nally released to the public after initially appearing at NAMM two years ago.

The long-awaited Armageddon amp is fi nally only weeks away from production and it would have been the coolest thing Egnater showed at NAMM if not for the Holy Driver and Overdose pedals. Overdose includes an overdrive and a boost, and you can fl ip the order of the two and insert another effect in between them. The Holy Driver pumps out super high gain, has an inbuilt noise gate for subtle or extreme effects, and a footswitchable midrange section for scooping, boosting or anything in between.

ESP introduces several new Kirk Hammett guitars, including an LTD version of his aged, distressed main axe, called the KH-25, with ESP’s new ALH-200 active pickups. But surprisingly, Kirk also gets LTD and ESP versions of the KH-DC, a Les Paul-like double cutaway solidbody with gold-covered EMG humbuckers and a beautiful see-thru black cherry fi nish. Put this under the category of ‘Signature guitars that anyone can dig.’

PRS offers a Neal Schon signature model with semi-hollow body, F-holes and - gasp! - Floyd Rose tremolo. Meanwhile the SE signature line gets an overhaul with new looks for the Orianthi and Nick Catanese models, and a new Dave Navarro SE to complement the Maryland-made version.

Blackstar’s HT-Metal pedal is an all-valve monster aimed at - who else? - metal players. It has two channels, cascaded two ECC83 triode stages, and it spits fi re into your eyes. There’s also a speaker-emulated output for going direct into a desk.

Line 6 and Reinhold Bogner further the collaboration which began with the Spider Valve with the DT25, a hybrid digital tone stack and a reconfi gurable analog power section. And when you need to turn it down low, further modelling kicks in to mimic power tube distortion. Very clever! And it’s probably the coolest-looking amp Line 6 has ever made.

Marshall celebrates 50 years with a series of British-built 1-watt all-valve amps - in combo or head versions - based on famous amps from throughout its history. A different one will be released every 11 weeks, based on the Bluesbreaker, JMP, JCM800, JCM2000 and JVM.

Taylor releases a mahogany version of their revolutionary GS Mini (warming up the sound a little and making it sound even more like a full-size guitar than the original version already did), along with plenty of new cosmetic options on existing models, and some beautiful new inlay styles. Less publicised is their decision to make their ingenious in-line ground wire fuse available for retrofi t to any guitar. This handy little device will save you from those onstage shocks, letting the easily-replaceable fuse take the brunt of a shock so you don’t have to.

Ibanez releases a Premium version of Steve Vai’s signature Jem model, in Sea Foam Green (Jem70SFG). Premium instruments are made at a factory Ibanez co-owns in Indonesia and which they have a hand in overseeing, and the quality is phenomenal, especially the fretwork. Give them a shot. At the other end of the scale, Ibanez is offering a replica of Evo, Vai’s main axe, complete with simulated neck joint crack and battle scars. Built by the extremely high-end Sugi shop, US retail is over $10,000. Sugi is also responsible for the limited edition Meshuggah 8-string with pricey Lundgren pickup. And Ibanez celebrates the 25th anniversary of the RG line with a Premium neon model in pink or yellow.

Ernie Ball Music Man introduces the Luke III, the latest Steve Lukather model. Larger body, custom DiMarzio pickups in H-H or H-S-S confi guration, and beautiful rosewood neck. Meanwhile the John Petrucci JPXII offers a basswood body, ebony fretboard, 20” radius, stainless steel frets and Petrucci’s DiMarzio Crunch Lab and LiquiFire pickups, in six or seven string versions. There are several new colours across the existing Sterling By Music Man brand, and the Sterling brand also introduces a new ‘SUB’ budget range (pictured) at an even more economical price point. These instruments feel incredible - instantly recognisable to those who have played the actual Ernie Ball Music Man gear. On the strings side of things Ernie Ball introduces high-magnetism Cobalt strings, with increased power and defi nition, while acoustic players will dig the new Everlast coated acoustic strings.

YAMAHA

PEAVEY

EGNATER

ESP

PAUL REED SMITH

BLACKSTAR

LINE 6

MARSHALL

TAYLOR

IBANEZ

ERNIE BALL

So. NAMM. Where to start? Four days of craziness in Anaheim, California where every rock star you ever idolised, every gear designer you ever obsessed over, every guitar you ever

argued on a forum about, gathers to wander the many, many expansive halls. The Winter 2012 NAMM (National Association of Music Merchants) Show was the biggest yet in terms of attendance, and there was plenty of incredible gear to salivate over. So let’s get to it!

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if Jimmy Page wants to do an instrumental piece, it’s always cool.

I got his Outrider solo album when I was about 14 and I didn’t know what to expect. But it turned out that there were a few instrumentals, it was mostly just Jimmy Page being Jimmy Page.Yeah! With Jimmy it’s more about songs than being in a band, y’know what I mean? As opposed to being Father Vai or Father Satriani. Steve’s amazing, man.

I’ve been talking about this a lot in interviews lately - where songwriting inspiration comes from, whether you can turn it on or you have to wait for it, that sort of thing. It’s funny to me. Some guys I know, when they get off tour they don’t pick up the guitar for two months. I don’t know how they do that. I pick it up every day. I play for an hour or three hours or whatever. Me and you could be watching TV for a bit in the morning, having a cup of coffee, watching the news, but I’ve got a guitar in my hand, y’know what I mean?

So you’re being roasted at NAMM, huh? [Guitar World hosted a comedy roast of Zakk including Sharon Osbourne, Brian Posehn, Scott Ian and more, telling Zakk exactly what they think of him].Yeah man! I’m getting ready for it. I keep lubing my ass and getting ready for the big fi sting that awaits! Between all my buddies involved in this thing, all the comedians and everything, I’m sure they’ll be tearing me a new ass. It’ll be pretty funny. I brought it up to Brad Tolinski [Guitar World] and he decided to do it. He said “I want to make sure you’re the fi rst one to get your ass handed to you.” Because it could be any of

our buddies, Jerry Cantrell, Kerry King… those things are hysterical, man.

So any cool new gear coming out? At the NAMM thing they’re going to be putting out the Vertigo all-maple Zakk Wylde Custom Les Paul. Also I was just in the Vatican the other day with Nick Bowcott [Marshall] and we were listening to a couple of my older Marshall heads that I found, and we got a slammin’ sound, so what they’re going to do is they’re gonna take those heads over at Marshall and they’re gonna dupe ‘em as my next signature head. So it’ll be killer.

It must be so much fun getting to do this kind of stuff!It’s just like owning your own company! Me fi nding the best-sounding stuff I want to put out. It’s awesome, y’know what I mean.

By Peter Hodgson

be involved with it.“Now most of the companies are ruining most of the ideas that I had in mind, they’re leaving the vinyl part out of it,” he continues, “so it’s like, DJing with vinyl, and scratching and so forth, is becoming a dying breed. Technics actually stopped making turntables. They made the best turntable on the block, so when a company like Technics, which is also a part of Panasonic, feels no need to make the world’s best turntable any more...it’s like they stopped making guitars! So I want to get more involved with companies moving forward with that. I’m defi nitely interested in talking to all these companies to fi nd out what we can do to help the vinyl DJ.”Sid feels that one of the major issues in the electronic music scene today is that the new technology is making things too simple for people to create music with, and that there is no self-reliance when it comes to fi xing new technology when it breaks down. This contributes to some of the classic gear going the way of the dodo bird.“With the experience that I’ve had in Slipknot, we have a different respect for the way music’s created,” he states, “a lot of people these days, you give them a computer program that just does a lot of the hard work for them. You don’t have that same respect for the process. They’ll do whatever’s the quickest and easiest way to get it done, rather than paying attention to a lot of the

details that go into making music.“Learn about your gear too,” he preaches to younger musicians and electronic music exponents, “don’t let gear become extinct. If something breaks or stops working, learn why it’s not working. Open it. Rip it out and fi x it. Don’t be afraid to put a new logic board in it, or replace some of the faders, or whatever. Learn your tools. You can help keep alive the old stuff, but then also understand the new stuff better when it comes out. The big thing is knowing why your equipment does what it does.”

By Rod Whitfi eld

TO HELL AND BACK

AMERICAN PSYCHOS

ZAKK WYLDE’S BLACK LABEL SOCIETY

SLIPKNOT

Zakk Wylde is a force of nature. Sometimes one of those really beautiful, glory-of-all-creation wonders (just listen to ‘Lovin’ Woman’ for Zakk at his melodic best) and sometimes a fi re-and-brimstone, shit-just-got-real ones (the incredible ‘Overlord’). Black Label Society’s most recent full-length album is Order Of The Black but since then the band has released a mostly acoustic album and a Christmas collection, and Zakk isn’t planning to slow down any time soon. He’s got a book in the works, he’s no doubt planning BLS’s next recorded assault, and he’s prepping the band’s triumphant and long overdue return to Australia for Soundwave. I’ve been lucky enough to interview Zakk about seven times now (pretty awesome when you consider I had his old Ampeg amp poster on my wall when I was 16) so this interview is pretty informal.

Slipknot, one of the biggest heavy music acts on the planet, are currently in somewhat of a holding pattern right now, as far as producing any new music is concerned. Recent events, especially the tragic and untimely death of bassist Paul Gray, seem to have put plans for a new Slipknot album on the backburner slightly, and there have been very confl icting reports as to the progress, if any, of what is supposed to be their fi fth album. The band’s sampler/DJ/turntablist Sid Wilson seems as up in the air about its progress as anyone.

Slipknot will be making a headline appearance alongside System Of A Down and Marilyn Manson at the freakin’ huge 2012 Soundwave Festival, as well as Sidewaves in Sydney and Melbourne.

February 25 – Soundwave, Brisbane QLDFebruary 26 – Soundwave, Sydney NSWFebruary 27 – Entertainment Centre, Sydney NSWMarch 1 – Rod Laver Arena, Melbourne VICMarch 2 – Soundwave, Melbourne VICMarch 3 – Soundwave, Adelaide SAMarch 5 – Soundwave, Perth WA

How you doin’ Zakk?I’m doing great, man. Just got back from the Priest run. Then did a batch of gigs with G’n’R, just got back the other day. Then we knocked out a Deep Purple cover song for a tribute record, and we’re mixing that right now. Then we’re obviously talking about the dates we’re going to be going down to Australia and doin’. So that’s about it, brother! It never ends, man, just getting ready for Santa to come rollin’ around, then New Year’s Eve, then waiting for the next assault to come around, the 2012 Black Label assault. And that’s about it, buddy!

We’ve been playing the Christmas EP around the house here. It’s very cool.Aww, thanks a lot, man.

There’s some very cool fusion playing in there that I really like. Thank you, brother! Yeah, there’s some Jeff Beck, Les Paul, jazz type stuff on there. It’s cool, I enjoy doing that stuff, man. I mean, nothin’ for nothin’ but Black Label wouldn’t not do anything anyways, man, so whether it’s the Black Sabbath-y riffs, Led Zeppelin type stuff, mellow CCR, Allman Brothers, anything in between. So to me it’s not even that much of a departure, y’know?

What I think is cool is that there are so many kids who look up to you as a guitarist and what you’re really doing, whether you mean to or not. You’re showing it’s okay to have a broad palette of musical

things to choose from. Yeah, well I mean, me and [BLS bass player] JD were just talking about that the other day. It’s just like, kids will want to play metal or something, and when you’re listening to Eddie Van Halen, Eddie’s an amazing blues player but that gets lost in the whole thing. All they hear is the fast stuff, y’know what I mean? Or a kid learns how to play “Mr Crowley” but he doesn’t learn the depth of what Randy Rhoads is doing.

And yet on that album you have ‘Dee’, which is an original classical piece. I remember when I was 14 and I got the tab for that and I was like, “YES! I’m a classical guitarist now!”Exactly, man. Just the depth in his playing, it’s not just about playing fast. Or listening to Yngwie, all you’re listening to is the speed and you’re not thinking of all the other stuff that’s going into that technically, aside from being brilliant, y’know what I mean? There’s a lot more going on than just playing fast.

Have you ever thought of doing an instrumental album? You’ve done some stuff here and there…Um, well no. Eddie Van Halen would always say, they’d go “When are you going to think about doing a solo record?” and he goes “All of my records are solo records,” y’know what I mean? Eddie goes “There are solos in every song, so I don’t know what your’e talking about.” But no. I love listening to John McLaughlin and Paco and Al DiMeolo, guitar-based fusion albums and stuff. As much as I love listening to Zeppelin. So

“Yeah, I hear talk about that (the new album) too!” He laughs, “the band hasn’t got together as a band to write music, so I can’t really say where it’s at. I know there’s people writing music, but I know that everyone in the band, that’s all we do. But I haven’t heard any new songs for a new Slipknot album.“It’d be nice to get together to do a new album, but unfortunately there are things that need to be dealt with fi rst.”What hasn’t ceased is the demand for Slipknot in a live sense, even when there’s no new album. The band return to Australia very soon to co-headline the mighty Soundwave tour with System of a Down, followed by another festival headlining spot on the Mayhem Tour across the States in July.“Yeah, absolutely,” he agrees, “and hopefully while we’re out on the road together, we’re able to work some of this stuff out. Most of us don’t live in Des Moines any more, and even the guys that do still live in Des Moines are always busy, travelling back and forth and trying to work everything else in. It’s hard to get us all together!”Sid himself is no exception, having plenty of musically related projects to keep him busy outside Slipknot albums and tours. “Yeah, I’ve been producing a lot,” he explains, “I’ve got an

album, a solo album called SID that’s just come out. It’s available digitally, everywhere online, iTunes. Another album I produced just came out on December 30 called Repeat, it’s a girl rapper from Venice Beach. Her name’s The Keen One. So I’ve been promoting those two albums. I was down in LA, I just got back from there. I fi lmed a video, I went to the NAMM show and saw some really cool products, some of the cool stuff I’m doing with Korg and some other types of equipment I’ve been working with.”Speaking of equipment, Sid was only to happy to tell us about the gear he uses, and what he feels to be some of the issues that exist in the creation of modern music, and more specifi cally modern electronic music.“I’ve been using Technics turntables,” he begins, “mixers, I’ve been going through all different types of mixers. I actually stopped picking out endorsements for a few years, I wasn’t happy with the direction that some of the equipment was heading. I was just wanting to be a little more involved in the feedback, and hoping the equipment moves forward, and doing things live using vinyl. And also catering to the new styles of DJs. I couldn’t get anyone to jump on and get it done properly, and make sure we have vinyl still

Zakk Wylde will bring his Black Label Society to the massive 2012 Soundwave Festival, as well as select Sidewaves with Hellyeah, Black Tide and Holy Grail.

February 25 – Soundwave, Brisbane QLDFebruary 26 – Soundwave, Sydney NSWFebruary 28 – The Forum, Melbourne VICMarch 1 – The Metro, Sydney NSWMarch 2 – Soundwave, Melbourne VICMarch 3 – Soundwave, Adelaide SAMarch 5 – Soundwave, Perth WA


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I live to play... i play pro mark


What about effects? I can hear some pretty grind-y bass tones in there...are they pedals or are you just driving your amp?For a long time I played with just a tuner. But I’ve been using a Big Muff which is great and keeps the low end and then a POG 2 . We started with them live to really ramp up my sound and add another frequency under the guitar.

Tell me about the song ‘Wanderlust’. It’s in 7, was that a deliberate thought or something that just popped out?Yeah, that riff we’ve had for a long time from the sessions of the fi rst album and its always been this tricky sort of odd time signature that we didn’t really know what to with or how to make into a song. It sort of grew and found its place now on the album. The more you play it live the more it’ll grow and evolve too.

And the track ‘Lies’ is a good old rock-riff type of tune.When we fi rst started writing for the album we went away to Norfolk and we were holed up there for the winter basically. We jammed a lot and some the riffs were quite heavy and we literally pieced together bits and sections. So that came from a jam and we tried some different vocal ideas over the top. So it’s really another song that was quite democratic and it’s fun to play live, that one.

By Nick Brown

BETWEEN TWO PITCHES

LIVING THE SWEET LIFE

THE DRUMS

BAND OF SKULLS

Hype – the worst word in a successful band’s vocabulary. It doesn’t help when English music rag NME votes your debut single NME’s 150 Best Tracks of the Past 15 Years. This is the irresistible force that meets The Drums, the immovable object staying true to themselves with their identity-consolidating second record Portamento. We spoke with multi-instrumentalist and co-founding member Jacob Graham about his increasing time spent behind synthesisers, the BBC Radiophonic Workshops and sticking to the original motives of The Drums.

Hailing from Southampton in the UK, Band Of Skulls push their alternative rock sound in the traditional form of bass, guitar, drums and vocals. Working with producer Ian Davenport (of Radiohead fame) and having tracks featured on the hugely popular Twilight as well as touring the world over, Band Of Skulls have been receiving critical acclaim for their dual female/male vocal fronted sound. Now with a new album under their wings, singer/bassist Emma Richardson fi lls us in with the details.

Band Of Skulls release Sweet Sour on February 24 on Liberator.

Your self-titled debut album exploded all over the world with a bang, but recent music history shows that bands who make a successful debut album often take a drastic sonic turn with their follow-up, like Guns N’ Roses’ Use Your Illusion I and II or The Killers’ Sam’s Town. How did you approach the making of Portamento?It was an honest approach. The song writing is less cinematic and grand than our fi rst album, more rooted in reality. It’s funny, we didn’t think anyone was going to hear our fi rst record… and the whole world heard it. I think we would have done things differently if we knew it was going to reach a broader audience. We didn’t try to “evolve”… in that wanky sense, we wanted to be as consistent as possible. To be stubborn and stick to writing three-minute pop songs. But I think The Drums have nutted out what we are trying to do. We wanted to fi netune things and defi ne ourselves.

What was the band’s inner motive when you fi rst formed?The reason we started the band was just to make music we love. That’s why we continue. At the time, we were almost pretending to be a different band to amuse ourselves. Our fi rst record didn’t really have any motive; we just dropped it off to the record company and said, “Here you go”. Before Portamento came out, journalists kept asking the band, “Do you think you’ll live up to the hype of the fi rst record?” My answer was always the same – that I don’t care. We just make music to please ourselves. If you

aren’t making music that doesn’t interest you, how can anyone make a real connection with it?

It’s hard to keep track of who plays what instrument in the band anymore. Do you have a defi nite role and instrument in the band?[Laughs]. I’ve actually stopped playing guitar now in the live show. I’m playing synthesisers now, which was my fi rst instrument. I was never a big fan of playing guitar. In the studio, we don’t really stick to our instruments, it’s a free-for-all. We record less like a band and more like… I always liken it to Alchemists Of Sound, (the 2003 documentary about the BBC Radiophonic Workshops) … anyone can play any part and it all comes together. We scaled back the use of reverb on this record, to enable listeners to pay more attention to microscopic details instead of masking it with big, swampy sounds.

What vintage synthesisers are you playing live?The main one I use live is the Roland ProMars. It was Roland’s fi rst analogue mono synth, but you can put your own sounds into it. It’s really great live because of that reason, but that doesn’t stop it from being in the repair shop between every tour (laughs). I also have an old Roland Organ and String Machine, for chords and an old modular synth that we run all of our bass lines off. I have a good deal of gear on stage now. But it can be incredibly nerve-racking. We used to use a lot of backing tracks for our shows and now we don’t… so I control all of those elements now (nervous laughter). All of these machines linked

The new album was recorded at Rockfi eld Studios in Wales. With credits such as Rush, Oasis, Simple Minds, Kasabian, Iggy Pop and Queen, it has some pretty serious history.Our fi rst recording was done at Courtyards Studio in Oxford and it’s quite a small space so we wanted to try a bigger room and it got put forward to us that it might be available. So, we jumped at the chance knowing the history of the place. It was a really great studio.

You’ve worked with Ian Davenport previous to this album? What’s the process?We usually end up trying to get as many songs together as possible and then basically Ian comes in and oversees it all and asks us how we want it to sound. He’s really good to work with and there’s a big element of trust so if we want to try new things he’s behind us.

How does it go down with various input from everyone?Basically, we try all options and if a few people don’t agree, then there’s got to be a majority. It’s pretty democratic, really.

How do you fi nd touring and writing new material on the road?We played out at a festival in Bonnaroo and we tried out about fi ve new tracks and they went down well, so we thought we must be working towards the right goal and on the right track.

Did the songs change from there?The ones we played, we knew worked but things defi nitely changed or were added from things we didn’t expect like when we walked onto the stage the amps moved and it made the reverb shoot off. So, we thought ‘that’s a mistake’, but we should try that on the record. We got Ian to jump up and down on Russell’s (Marsden, guitar/vocals) amp to get the same sound and now the beginning of the whole record starts with that sound.

And gear wise you’re using a Fender P-Bass?Yep! The other bass I used to play with wasn’t even mine, it was Russell’s that he gave me to rehearse with and I didn’t own my own guitar for a long time so yes, that one’s the fi rst choice.

together, so every night I’m sweating it… If one of these machines goes wrong, I’m checking like 20 different cables to see where the problem is! It makes it exciting… like a trapeze artist working without a net. A lot of people think I’m stuck in the past, because I insist on using older machines. I think electronic music has gotten away from itself. It’s almost progressed too much, in a way. Nowadays, you can practically check your emails with a new keyboard. Bands that are using older technology, just seem a bit more tangible and sounds real with textures.

You’re a big fan of synthesiser gurus like Wendy Carlos (who created the fi lm score for A Clockwork Orange, The Shining and TRON) and Kraftwerk. What other synthesiser music are you a fan of?I like all those Wendy Carlos type world renowned synthesiser pioneer types… but there’s almost this wave of… garage bands, if you like – but instead of guitars, they are using synths, trying to sound like Kraftwerk. There’s a Netherlands-based band called Nine Circles, who are amazing. There’s a band in Brooklyn right now called Xeno and Oaklander, they’re part of a label called Wierd Records. It’s really amazing.

You’re playing Laneway… Are you excited about seeing any fellow acts in particular?Oh yeah. If I remember the bill correctly, I think Twin Shadow is on the bill. They’ve become pretty good friends of ours; we’ve seen them out and about here and there. It’ll be nice to spend some more quality time with them. The Pains of Being Pure at Heart will be out there… that’ll be nice to hang out with them. I’ve met a couple of the guys in The Horrors, they seem pretty cool. I’d love to see M83 aswell. I haven’t seen a lot of the bands playing live, so I am really keen to see new bands.

By Matt Petherbridge

February 3 – The Palace ,Melbourne VICFebruary 4 – Laneway Festival, Melbourne VICFebruary 5 – Laneway Festival,Sydney NSWFebruary 8 – Enmore Theatre,Sydney NSWFebruary 10 – Laneway Festival,Adelaide SAFebruary 11 – Laneway Festival,Perth WA


them. Sometimes someone’s written every part to the song but sometimes it’s kind of open and so everyone kind of has their own take on it. So it all kind of evolves – usually when I bring my song in it starts out super basic, and then it kind of gets built up when everyone else adds their stuff. I guess sometimes our stuff ends up all over the place, but if we’re not happy, a lot of our stuff gets cut out.

When you fi rst emerged you had the reputation of GG Allin-esque live shows. Have you toned it down over the years?I guess there’s not a lot of stories about urination and all the stuff like that now – that’s not such a common occurrence. I mean the shows are still crazy and stuff but, you know, there’s no nudity and stuff like that.

Do you foresee a time when Black Lips won’t be singing about hedonism and the such?I don’t know, I don’t think, collectively, we’d ever make a conscious decision to kind of do anything cause everyone kind of feels different about everything. But I don’t think there’s ever anything we would never not sing about – even if you don’t do that stuff anymore, you still have done it before.

You were last in Australia in 2010, looking forward to returning?

It’s always really fun when we go out. This time we get to do like a festival run and then clubs and touring over there always has a vacation quality to it – it’s always a lot of fun. And we always go when it’s cold over here so it’s like a summer holiday. But the shows are always super fun. This will be our third time coming and it’s always been a blast. I enjoy it a lot.

You were one of the fi rst acts to release a full-length on Vice. What’s the relationship between the band and label like?I guess really good and productive. We like them a lot and over the years we’ve had a really good relationship. I like their structure, cause they’re like a non-traditional media group at the same time so it’s kind of cool. I like the people there, they’re cool. And they have offi ces all over the world which makes travelling easier.

By Lachlan Kanoniuk

“Oh, you’re right.” I think we were so close working on the fi rst few records, and at that time I was the best person to work with him because I knew where these songs were coming from, what their sentiment is. As a listener, you can relate to a song until it’s your thing, like the singer’s singing about your feelings – you connect with the band. But when I hear our stuff I know exactly what it’s about. I connect with the feeling, but I don’t think of it in those terms.

There’s a distinctive sound within Father, Son, Holy Ghost. What was the production process like?It was a weird mish-mash. Chris sort of leaves the recording up to me – I have my own studio and stuff – but I don’t like recording in an actual studio. I just like fi nding an interesting room or house and just bringing in the stuff you need. Someone told me about this guy who had a studio in downtown LA who was starting to let people use it. He was a gear collector, so he had all this esoteric tube gear and this interesting mixing board from the ‘70s – just all this weird stuff. The studio was in a basement of this fi ve storey offi ce building downtown, this huge gutted concrete room with no natural light. I’d say it even sounded bad when I fi rst walked in. But there was a bunch of stuff, a huge amount of amplifi ers – more than you could imagine, more than any guitar store would have. There was this makeshift control room with this beautiful mixing board, all this old gear. I like situations that are a little out of the ordinary when recording, I like it when the environment gets onto the record. You can try to get

it as clean and shiny as possible, but when you record in a room like that it’s going to be a little fucked up.

The record was co-produced with Doug Boehm. How did he come on board?He was a guy that worked on a couple of records I liked, but also these higher budget radio rock records. I kind of wanted to mix those two things – getting this guy that can make things really shiny and put him in this studio that was a bit fucked up – and just seeing what would happen.

Doug’s worked with Aussie giants Powderfi nger before, are you familiar with them?They’re like the U2 of Australia, right?

I guess you could call them that.[Laughs]

PLANTING THE FLAG

BROKEN DREAMERS

BLACK LIPS

GIRLS

It’s become the most hackneyed of descriptors, but ‘mature’ is the word that comes to mind when listening to Arabia Mountain – the sixth full-length offering from fi rebrand Georgians Black Lips. Though their lyrical content still recounts more than a few hedonistic pursuits, their sonic qualities have well and truly evolved from their scrappy beginnings. Bassist Jared Swilley talks to us about that gradual maturation, working with UK super-producer Mark Ronson, and the aural distinction between theremins and saws.

Few debut records have experienced the rapturous critical acclaim that San Francisco’s Girls achieved with 2009’s Album. Since then, the band have gone on to release the solid EP Broken Dreams Club, and last year’s triumphant Father, Son, Holy Ghost – topping many year-end lists in the process. Despite a relatively amorphous lineup and an well-exmained harrowing back story (which we won’t go into here), the band have steadily ascended to a rank worthy of a decent sized font on the recently unveiled Coachella lineup. We caught up with bassist and producer JR White before the band return to our shores for the incoming St. Jerome’s Laneway Festival.

Black Lips will be touring this March alongside their appearance at Golden Plains Sixxx.

March 1 – Coolangatta Hotel, Coolangatta QLDMarch 2– The Zoo, Brisbane QLDMarch 4 – The Standard, Sydney NSWMarch 7 – The Corner, Melbourne VICMarch 8 – The Bakery, Perth WAMarch 10-12 – Golden Plains Sixxx, Meredith VIC

Girls perform alongside Yuck, Total Control, DZ Deathrays and a whole heap more at the upcoming Laneway Festival, as well as select sideshows.

February 2 – Oxford Art Factory, Sydney NSWFebruary 4 – Laneway Festival, Melbourne VICFebruary 5 – Laneway Festival, Sydney NSWFebruary 8 – The Corner, Melbourne VICFebruary 10 – Laneway Festival, Adelaide SAFebruary 11 – Laneway Festival, Perth WA

It’s been nearly half a year since Arabia Mountain dropped, has your perception of the record changed at all since?Not really, I mean I haven’t really listened to it since we fi nished recording it, but I’m still happy with it. I was happy with it when we fi nished.

Working with UK producer Mark Ronson was an interesting choice. How was the recording process?It actually worked out really well, we worked really well together. He liked the same recording techniques that we did which was like a lot of older equipment and analogue. I guess he was pretty minimal in his approach which is kind of the way we operate. So, yeah, it was pretty smooth. We hit it off pretty well.

Mark famously abstained from using horns on his latest record, but I noticed a hint of brass on Arabia Mountain.Well I don’t think he was going to use any horns, but the fi rst song that was on the album had saxophones in it, and we did that a few months before we even knew he was going to work on the record – that was one of the ones we did out in California. Then the other song we had horns on, that was like me trying to bring it in; I think he was kind of trying to shy away from it. We wanted to get them on a few tracks because we felt it was kind of ironic or something.

There’s some weird tones throughout the record, plenty of theremin action.Yeah it was all analogue and older stuff. We like the way the theremin sounds. Actually a lot of what sounds like it could be theremin were a saw, we had a saw player in there. I mean it sounds like a theremin but just a more organic theremin. We had a bunch of different people to bring theremins along with the saw player, all that kind of stuff, just to have fun and see what we could work with.

Black Lips have obviously come a long way in the past decade or so, how has your bass setup evolved?I’ve played like a Hofner for the past fi ve or six years. I go through those pretty fast cause they’re not really that well-made. The ones they make now - don’t know if they’re still made in Germany or not – they’re pretty cheap, so they’re easy to replace. For my bass amp I’ve always had like an Acoustic or an Ampeg - just really simple. I think bass just has one sound really. It either sounds crappy or it doesn’t.

You seem to share the songwriting load fairly evenly within the group, is it diffi cult to form a cohesive album?Well, we always end up with a lot of songs and every time we record we have to whittle it down. Everybody generally has their own songs when they come in but everyone kind of helps out on

Girls is always the core duo of yourself and Christopher Owens, what’s the full lineup you’ll be bringing to Australia like? Same as last tour?Well it changes so much, so it’s not the same lineup as last time. We’ve been busy with rehearsals because we’re actually bringing a new drummer to Australia. It’s basically the same setup – two guitars, then there’s our new drummer Derek, and we have the keyboardist we had last time. We’ve been dealing with the drummer situation for the last week, so I’m not even entirely sure who else will be coming with us [laughs].

The new record has a far bigger sound, has it been a challenge translating that to the live environment?The guy who played drums on the record came with us on the tour is really skilled and dynamic, that’s Dan Weiss [Evan’s brother], but he is no longer in the band. So trying to fi nd someone to fi ll his space has been tough. I think we found someone now, that’s the main thing. We kind of went into that record and made it with people that we wanted to be in the band for the touring of this record and for the remainder of the band, if possible. But that did not happen [laughs]. It’s just been hard to fi nd the right people, but up until now there hasn’t been a problem translating it.

What’s the creative partnership between yourself and Christopher like?Everything’s going to be different in the future, because we used to live in the same house. I would

hear him working through the walls, playing music, and he would play me stuff all the time. Now we don’t live at the same place, so I kind of have less contact with his working process while the songs are being written. But for Father, Son, Holy Ghost, a lot of the songs had been around for a while, and I’d heard him play them and help fl esh them out a little bit. They’d already been developed from him playing guitar by himself, or through us talking and just playing a little bit into what they were before we went into the studio. We leave a little bit of it up to whatever inspiration we have while we’re in the studio. There’s a lot of room to deviate form what we’d done, trying to keep our ears open to new ideas while we’re in there. Even if I’d heard a song a million times when I was living with Christopher, he would still give me the demos on a CD, so I could come up with my own ideas and contributions – arrangement suggestions, if it needed a chorus, just the general layout of the songs. But for this [upcoming] record, I haven’t really heard much. I don’t know how much he’s been writing on tour.

The songs’ contents are usually fairly intimate and personal, how do you relate to the tracks as opposed to any other listener?I usually know what they’re about. I know Chris, I know the past three records, I can fi gure out what the song is about, what part of his life it’s about. It’s funny, there are times when people say what they think a song is about and I’d correct them, and Chris would say,

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altogether and we get together every couple of weeks which gives us space to write separately. Cam produces everything – he’s a great producer and I’m a terrible producer. So basically it’s a really insular and personal experience, the writing process, for me – once you start jamming it out it starts to become more inclusive and a bit more of everybody’s story, it’s not just about me and my experiences, it becomes something that were all involved in. And when we play it live it’s not about one person or a couple of people it’s all of us in together. It’s a bit more ‘safety in numbers’, you know. We played some showcases when we fi rst started because people knew a couple of industry people and they came to a little rehearsal space – some came from the UK and we knew they were coming – and it was just new a and wild for us and we were so nervous but I had a real feeling. But I hadn’t sung in public before that, and I was getting really nervous, I still get nervous but we were doing it as a team and you kind of rely on each other a lot more in a live show and there’s a lot of goofi ng around that goes on as a result of nervousness and trying to keep things interesting for each other.

Getting the audience involved, does that help with putting on a good live show?We kind of got rolling with this idea of ugly dancing and everyone got involved with that. It’s just a really stupid experience. But yeah, defi nitely a lot of East African music is very collaborative and all-inclusive. I just got back form Uganda and I saw some great kids who were performing and just the way they do call and response is so beautiful and exciting and to realise how much music in pop culture has come from inspiration from over there. I defi nitely like to think we involve the audience as much as possible but call and response is always fun.

By Ali Edmonds

FROM MERCURY WITH LOVE

KEEPING IT ON LOCKDOWN

COLIN HAY

JINJA SAFARI

In the wake of his father’s passing, legendary Australian singer-songwriter Colin Hay has crafted a beautiful album in Gathering Mercury. Matt Petherbridge spoke with Hay about his latest offering, working with Scrubs star Zach Braff and not trying too hard to wrestle a song to the ground.

For some, the story behind Jinja Safari sounds like a dream: from hanging out around beach campfi res surrounded by the semi-tropical jungle along the eastern coast of Australia and playing forest gigs, to playing major festivals (including Peats Ridge, Good Vibrations, Big Day Out, Falls Festival and Splendour In The Grass, as well as the upcoming WOMADelaide) and touring with some of the biggest bands in the country. They are also packing out venues all over the country with their energetic and fun live shows where audiences dance, what the boys in Jinja Safari, term the ‘ugly dance’. Co-frontman Marcus Azon lets us in on the feathers, face-paint and infectious drum beats which have encapsulated their energy, musical abilities and afrobeat inspiration.

Jinja Safari perform alongside Dirty Three, Chic, First Aid Kit and many, many more at the massive 2012 instalment of WOMADelaide. Locked By Land is out now through Young Mine/Other Tongues.

March 9-12 – WOMADelaide, Adelaide SA

The fi rst single from Gathering Mercury, ‘Send Somebody’, was co-written with singer/songwriter, Michael Georgiades? How did the song come about?Mucking around on guitars, that’s what we tend to do a lot of the time. Michael’s been around since the 60’s, making records… he made a record with Bernie Leadon from The Eagles (1977’s Natural Progressions). He’s my point of reference, he’s a terrifi c guy and he has a beautiful skill. He had this guitar fi gure he played it for me, and I started singing the chorus to Send Somebody along with him. It seemed like a good idea for a song… thinking sometimes when your life is falling apart, you don’t realise it is… and when you call someone for something simple, you end up talking to a complete stranger about your life falling apart.

Zach Braff has had a hand in your “resurgence period”, if you like. You and your songs have appeared on his hit TV show Scrubs and in his Grammy award winning fi lm Garden State, with the song “I Just Don’t Think I’ll Ever Get Over You”. Do you remember how you wrote it?It was originally on my 1998 album Transcendental Highway. I wrote it at home in Topanga and it originally had more instruments on it and it wasn’t quite working. I was on the way down to this place to master the record, driving with a

guy called Dave and we thought we should have another crack at that song in the morning before we drove down – we did it in one hour. We did it really simple, just me and acoustic guitar, playing in DADGAD, with a little bit of slide (guitar) on there. Zach Braff, who I knew through Chad Fischer, we had a mutual friend, Cary Brothers, a singer songwriter. He used to bring Zach down to my gigs, years before he starred in Scrubs. He had my albums and he was a fan of my music – I was talking to him at a party one night, where he told me he had just got the part in Scrubs and he was going to be a star. I wished him good luck and he said, “I’m going to try and get your songs played on the show.” He brought a guy called Bill Lawrence (creator of Scrubs) to my shows and he liked my music too. He told me, “We’ll use a bunch of your songs on the show and see if it makes a difference for you”. He specifi cally wrote an episode called ‘My Overkill’, the fi rst episode of the second season. And then that lead on to Garden State. It was quite an organic way of meeting people and working.

Do you fi nd song writing a cathartic process?I don’t really think about it that way [laughs]. Sometimes you start off with an idea and other times, I feel particularly close to a subject… I don’t know. I always try to let the song speak, so to speak. It’s important to just let the song… become what it is – as opposed to trying to

How did it all happen for you, from playing to family and friends to playing festivals like Splendour In The Grass? What was your secret? If I knew the secret I’d write it down clearly and perfectly and then I’d charge a lot of people a lot of money for it and then there would be a lot of people making music [laughs]. But seriously, we’ve all played in other little bands before and have put just as much love and dedication into them and tried to do as much as we can with the live performance. The other boys in the band played for about 10 years in the same band and struggled through it, as so many bands do, and what grabs the attention of a couple of radio stations and a few industry folk I’m not sure what that is but, we’re grateful for it. We just recorded this little EP together – I was in Tasmania and Cam was on the central coast of NSW – and we sent the fi les back and forth to each other, and we just put the songs up on Myspace and Facebook. Our manager heard it and he gave it to triple j who had an Unearthed competition to play at Splendour. We played a couple of shows under another name to see if we could play live at all, and they came to one of the shows. We were supporting another band and we knew that they were coming and we knew we were up for the competition and we were so nervous. We kept wanting to make jokes about triple j and Splendour but we couldn’t think of the appropriate jokes with the right punch line so

we just played as hard and as good as we could, which was not very hard after of the couple of warm up shows that we had, but it worked out.

Tell us about your latest release, Locked By Land.Yeah all the recordings for that were just done at home – partly in both our bedrooms and partly at a farmhouse – so yeah it was pretty much a home made job. Our debut album is coming later this year in August – but this is basically a collection of all our songs, it’s a platform to show all our songs that we have thus far, it’s the two fi rst EPs all together.

So you’re multi-instrumentalists? What instruments do you focus on? I play guitar, bass and piano. I was forced to do classical piano exams by my mum. But I defi nitely think it’s a great thing to force kids to do because they’ll fi nd their own love for it in time, and it’s good to get to know how the scales work and piano is very structured and a bit more linear than some of the other instruments.

You put a lot of emphasis on your performance in your live show. Do you fi nd the live show to be more important than recording? They’re two different lovers altogether. I’m actually just doing some writing now, because Cam and I are constantly Frankenstein-ing our ProTools fi les

wrestle it to the ground, if that makes sense.

No matter how hard you try, sometimes you can’t turn an epic into a three-minute pop song or vice versa.If a song turns out very long, there’ll be a good reason for that. It probably can be three minutes… [laughs], but it’s an exciting process. ‘Gathering Mercury’ is a song I really tried to wrestle to the ground. I’ve had the music for that for the last couple of years. The lyrics came from a friend of mine, who has actually died twice, he was in a coma for a long time and he came back, he’s still with us and he told me his experience and it affected me so much that I put it into a song. Just before we mixed the record, I ended up re-recording it down the road from my place

at [co-producer, engineer, mixer] Chad Fischer’s, with acoustic guitars and vocals and I just left it with him. I said to him, “You do what you want with it. I’ve tried doing everything with this” and then he put all of that space into it. It’s one of my favourite songs on the record.

By Matt Petherbridge

Colin Hay will be performing around the country this February. Check out www.colinhay.com for full details. Gathering Mercury is out now through Compass Records.

Distributed by: Intermusic Australia 29 South Corporate Ave Rowville VIC 3178 IMD Toll free Telephone - 1300 005 319 IMD Toll free Fax - 1800 184 044 www.imd.com.au


What is the expected cost of cover per-annum for example ($10,000 worth of gear including a vintage Yamaha guitar, boutique pedals and a new Marshall stack amplifi er):Premiums vary depending on the state you reside in and the type of equipment you are looking to insure. Our premiums start from $202.45 (inclusive of all charges) for equipment held in NSW. For an accurate obligation free quote please call 1300 760 171. Replaced to the value of or exact replacement?If your item is damaged, the insurer will pay the reasonable cost of repairs. If it cannot be repaired or has been stolen and is declared as a total loss

by the insurer, they will pay, at their option, the replacement value of the property insured at the time it was lost, or destroyed, or replace the property insured with similar property equal to, but no better than, the property insured when it was new. It is important that you nominate the current replacement value of your item as the sum insured because the insurer will only pay up to that amount to replace your item.

IN THE RIGHT MEASURE

SOMETHING EVERY MUSICIAN SHOULD CONSIDER

NICK LOWE

Q&A – MARSH INSURANCE

He doesn’t sound like a 61-year-old man, be it conversationally or musically. He’s disarmingly modest and polite: even though Nick Lowe wrote ‘(What’s So Funny ‘Bout) Peace, Love and Understanding’, to this day he isn’t bothered a whit that it’s credited to Elvis Costello. He was in the thick of punk and new wave, but never let himself be identifi ed with either movement, even though he was pivotal to both, and one gets the feeling that - no, really – he likes the idea of getting old.

Marsh is the world’s leading insurance broker, providing insurance to all types of people and businesses all over the world. They have over 25,000 colleagues working in over 100 countries. The Musical Equipment Solutions Team have been arranging insurance for musicians for over ten years. Mixdown caught up with them to see what’s on offer and why every musician should be covered.

One difference between The Old Magic and Lowe’s previous effort, 2007’s At My Age, is that his new album is actually selling well, garnering him some much-deserved attention. What’s curious is his reasoning behind why it took him so long to put the new record together.“Well, it’s too hard to write songs for you to be actually able to decide, ‘Right, I’m going to do an album like this’. You can do that when you’re younger,” he says. “But as you get older, it gets harder to do. You’d think it would be a walk in the park. What normally happens is I wait until I’ve got two or three tunes that I think are pretty good, that stand a good chance of becoming good records. It’s a bit like a snowball on a hill, gathering more and more snow as it goes down. From that three-song nugget, the other songs kind of attach themselves. That’s a writing process which in my case can take three or four years, I suppose.”

The Old Magic is deceptively shrink-wrapped in a sort of middle-of-the-road plastic croon, making the listener feel that, perhaps, it’s a bit too smooth. But this is just the ploy of a master craftsman who knows exactly what the hell he’s doing. In terms of the aforementioned ‘snowball effect’, this record plays itself back out the same way. It initially has the veneer of a chardonnay wine tasting session, and then you get over the shock.Checkout Time is the fi rst one to take hold: a tongue-in-cheek look at his own mortality that is nonetheless utterly poignant. Really, thisis the same guy who wrote Truth Drug - it’s just that this time, he doesn’t feel like beating on dead horses. By the time Insensitive Man and Somebody Cares For Me reveal themselves, the ghosts of Roy Orbison and Buddy Holly weave their way through.

Restless Feeling is the song that triggered the writing process of The Old Magic. It’s one of the more bizarre moments on the album, and it has its genesis in a rather absurd conversation fuelled by a sake-drinking session. “Two of my co-collaborators, Neil Brockbank, who does the mixing, and Robert Traherne, the drummer - they

had a record label called Blue Five, and they put one record out,” Nick explains. “It was Dan Penn and Spooner Oldham from Memphis. We put out a live album of them on Blue Five. So Blue Five released one record and it was pretty successful. One night we were in Tokyo doing some shows, and we were in a bar, laughing about how Blue Five had got this tremendous success, never had a fl op, and we started to joke about making a record of phony Blue Five artists, as if Blue Five had all these other artists on its books, and how we’d do a compilation record, like they used to do back in the Sixties. We’d had a few drinks, and we started thinking about decent names for some of these different artists. One of the artists we came up with was this slightly over the hill boy band like a cross between New Kids On the Block and the Osmond brothers. There’d only be maybe one or two of the original guys in it, the others having left: maybe died of drug overdoses, or bought a shoe shop or something. And the name we came up with for this over the hill boy band, which we thought was spot-on, was Coastline.

“And after a few more sakes I suddenly jumped up and said, ‘Well I’ve got their tune, I know exactly what their tune goes like’” Lowe chuckles, “and I started singing Restless Feeling. We went back to the UK, and one day we thought, ‘What about doing Coastline? Let’s start this record, it’s a pretty good idea’. So I fi nished the song, and the more we worked on it the more we got into it. We thought, ‘Well actually, this is pretty cool’”.

Checkout Time is another example of combining a somewhat unforeseen arrangement of music with similarly poignant lyrics. “I was watching TV and strumming a guitar one evening, and I came up with the little chord changes and the melody,” he explains. “I didn’t intend to write a song - even though it’s rather tongue-in-cheek about my own mortality. But when I came up with this melody, I actually heard Johnny Cash’s voice singing ‘I’m 61-years-old now, and I never thought I’d see 30. I heard Johnny Cash singing

Name Of Insurance Policy:Marsh Musicians Insurance.

What exactly will this Insurance Policy cover?The policy can cover all types of musical instruments and recording gear, it can also be extended to cover laptops, desktops, lighting and ipods as long as you are also insuring your musical equipment.

Will it cover instruments taken away from my residence, or at a gig?The policy covers instruments in locked or unlocked vehicles and premises, worldwide. No time to pack up after a gig? No worries, you can leave your equipment at the venue over night and the policy will still cover it. The policy will also provide cover for your equipment whilst you are loading and unloading.

Fire, theft, loss, damage including fl ood or water damage?The Marsh Musical Equipment Solutions policy provides 24/7 cover against accidental and malicious damage, fi re, theft from locked and unlocked vehicles and premises and physical loss anywhere in the world. Flood cover is available but should the damage be caused as a result of “water from or action by the sea, tsunami, tidal wave or high water” unfortunately the insurer will exclude it.

What about international cover, any countries you don’t cover?Marsh Musical Equipment Solutions provides worldwide cover for your equipment. Your Public Liability Insurance cover won’t cover you in the USA or Canada.

it, and it fi tted, y’know, just fi tted great,” he explains.

Lowe’s attitude to his age, ironically, affords him with a kind of spark of youth. It sounds syrupy and sentimental, but it’s rather inspiring. “One of the great things I’ve found about getting old in a business that up until fairly recently... it would be inconceivable that someone in their sixties or seventies, such as Bob Dylan, can still be incredible artists, writing and producing records that are great and that people think are worthy of discussion. You shrug off your sort of youthful snobbery that certainly my generation had, because my generation completely rejected our parents’ music, which isn’t the case nowadays,” Lowe muses.

“My generation didn’t, but the older you get, the more you welcome anything. It’s something that a younger audience can go for as well, and

that suits me down to the ground. Because it’s music that I can perform, and I can reach a younger audience without having to get down with the kids in some kind of embarrassing and patronising sort of way.”

BY Dermot Clarke

Phone: 1300 760 171Email: [email protected]: www.marsh.com.au/musicians

Nick Lowe will be in the country as part of the massive Byron Bay Bluesfest lineup, as well as select sideshows.

March 22 – The Forum, Melbourne VICMarch 24 – Norwood Concert Hall, AdelaideMarch 26 – Astor Theatre, Perth WAApril 4 – The Tivoli, Brisbane QLDArpil 5 – Byron Bay Blues Festival, Byron Bay NSW


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The Player’s ChoiceThe Player’s Choice

Airbourne

Brent HindsMastodon

Scott IanAnthrax

Ben Harper

Joe Satriani

Lenny Kravitz

Sheryl Crow

Billy MartinGood Charlotte

Richie Sambora

Xavier Rudd

Kings Of Leon

Keith Urban


Okay, so as I write this I’m sitting in a hotel room in San Diego after an intense week in Anaheim for NAMM and associated festivities. NAMM is a pretty intense experience, with hall after hall of amazing musical gear, every rock star you’ve ever heard of (I met Richie Kotzen, John 5, Mark Tremonti…) and every dream gig you wish would happen (Paul Gilbert, Steve Vai and Steve Morse jamming Led Zeppelin songs, with Vai on a Gibson Les Paul? Get out of here!). But one thing NAMM has more than anything else is shredders. There are young shredders, old shredders, fast shredders, faster shredders, shredders with pointy guitars, shredders with Telecasters, and shredders with little shredders inside like Russian dolls. And one thing these shredders are great at - and no, of course it’s not musicality - is drawing attention to themselves. And this is a hard thing to do through the din of NAMM. You have a cacophonous roar coming from the drum section, guitarists going absolutely nuts, reps talking loudly, stereos blaring, DJs DJing, bands playing out in the foyer. So to cut through, guitarists can’t just play blisteringly fast. They have to play something ear-catching. And, as with most of my lessons, that’s something you can take with you and apply whether you shred or not. You don’t need to go widdlywiddlywiddly to give the audience a “what was that?” whiplash moment. In fact, sometimes these moments work better when you don’t play fast all the time. Here are some of my favourites.

Joe Bonamassa is fl ying the fl ag for modern blues rock, and his guitar tones run the gamut from classic vintage to relatively modern (while generally bypassing the few decades in between). You can hear it all between his solo work and his rapidly growing catalog with supergroup Black Country Communion, featuring Glenn Hughes, Jason Bonham and Derek Sherinian. Bonamassa is one of those guitar players who really understands and exploits the interaction between pick, pickup and amplifi er, so his approach to tone can teach anyone a valuable lesson in playing dynamics, and how to highlight them with your gear choices.

NAMM AND THE ART OF THE ‘MAY I HELP YOU?’ RIFF

JOE BONAMASSA

UNLEASH YOUR INNER ROCK GOD

WHAT’S THAT SOUND?

Each of these examples can also be used in a music store as a ‘May I Help You?’ Riff.

STRING ZIPSThis is a trick you can sometimes hear coming out of Jeff Beck and Eddie Van Halen. The concept is simple: pick a note, slide super-quickly until you get to a specifi c fret, then let you and pick the open string a few times. Easy! You can mess around with this technique a bit more by not doing the open string bit - just let that note sound by itself when

you lift your fi nger off the neck, and then move to the next zip.

OPEN STRING JACK BUTLERThis lick is based on tricks Steve Vai used as Jack Butler in the fi lm Crossroads. It’s essentially an open-string hammer-on/pull-off lick which incorporates open strings and string skipping. Part of what makes it sound so interesting is the contrast between sequential and repeated notes. The fi rst three notes are a relatively fair distance apart from

Bonamassa has several pieces of signature gear which help him achieve his tones. He’s already got a signature Gibson Les Paul, Jim Dunlop Fuzz Face and Crybaby Wah, and Carol Ann amplifi er, but recently at NAMM Bonamassa announced a Seymour Duncan Custom Shop signature pickup. The Carol Ann amp, the JB-100, is a 100 watt, 6L6-based behemoth with two channels and a tube effects loop. Only ten were made, and each was played by Bonamassa on stage. Bonamassa has also been known to use a variety of Marshall amplifi ers live, including quite modern ones such as the JVM series. There’s no hard and fast rule to copping Bonamassa’s amp tone - sometimes he uses 6L6s, sometimes EL34s. The most important ingredient is to get your amp to a point where you can get cleaner tones from softer picking, and more distorted ones from harder attack. This is probably why Bonamassa is such a fan of the Fuzz Face too. This classic and very minimal design is known for its chewy, addictive fuzz tone, but many players know that the germanium-loaded (as opposed to silicon)

version has a secret purpose: the input stage is very reactive to the pickup and the guitar’s volume control, and some of the best, most soulful clean sounds you’ll ever hear can be found in a Fuzz Face pushing out sweet clean tone from a rolled back Strat or Les Paul.

Bonamassa’s new Seymour Duncan set is a carefully crafted and calibrated dual-humbucker set accurately replicates the P.A.F. pickups in Joe’s beloved 1959 sunburst Gibson Les Paul. Only 1,959 sets will be made available, and each will be signed by Seymour Duncan himself as well as Bonamassa. Each set also comes with extra features such as a special USB fl ash drive with special interviews, features and more.

Interestingly, despite having a gold top signature model Bonamassa doesn’t just use Gibsons. He often straps on an Ernie Ball Music Man guitar, be it a Steve Morse model, a custom double neck, a John Petrucci Baritone or other models. Yet whether he’s

each other, and the fourth is a repetition of the one before it, but performed on a different string. This is a great way to build up fi nger independence and to force yourself to play right on the fi ngertips, otherwise you could accidentally wipe out your notes. There’s a certain classic rock vibe to this lick, and you can use it for The Who-style synth-a-like patterns, Jimmy Page-esque ‘Heartbreaker’ solo ripoffs and much more. Try moving to different frets to see what happens.

DIFFERENT FINGER, SAME NOTEHere’s an interesting approach to getting some different textures happening out of the same note. Looking for a way to make a repeated note sound less, well, repeated, without having to change pitch? Use a different fi nger to fret the note each time you play it. This forces you to play teensy tiny grace notes as your fi ngers slide up to or down to

the note. Try throwing this into an otherwise low-tempo melody for some real weirdness. It can sometimes create a sort of digital stutter type effect which I think a lot of players might dig as they start to explore ways of applying guitar to dubstep.

MUTED HAMMER-ONSThis is a neat trick for imparting some percussive chop to a riff, section or solo. While typically a player will perform a hammer-on lick without palm muting, heavy muting combined with a repetitive hammer on lick and chunky attack on the initial note of the sequence can create a really wild, percussive feel. This works especially well in minor pentatonic riffs and solos.

By Peter Hodgson

playing a set neck model like his Les Pauls or a bolt-on like the EBMMs, Bonamassa’s sound is instantly recognisable. It’s all due to the touch sensitivity of his guitar rig and the fi ne details in his pick attack. If you fi nd you’re not quite nailing it, try backing off your preamp gain a hair. If that doesn’t work, back it

off some more. Sometimes the level that feels right when you’re really rocking out just doesn’t work if you’re playing more delicate stuff.

By Peter Hodgson

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As with so many other things in life, it seems that music gear goes around in a full circle, given enough time. The analogue synthesisers that we were all so fond of in the seventies and eighties were slowly eroded from the marketplace in the nineties with the dominance of digital based synthesisers that offered more variety, more control and a much more achievable price tag. But what this new breed of synthesisers lacked was the tonal qualities of the analogue circuitry in the keyboards of old. Sure, there were some manufacturers that continued against the trend, but lower production runs simply meant analogue synthesisers got even more expensive. Now, it seems the tides have turn and analogue synthesisers are making a proper revival, spurred on this year by a number of exciting releases at the NAMM show.

In today’s modern computer driven world of music production, there are so many options when it comes to electronic instruments. What makes this so appealing is that most of these options are available in software format, offering cheaper, space saving alternatives to getting the great sounds of yesterday. But, unfortunately the sound of many hardware synths can never truly be emulated by a piece of software and, when all is said and done, there is nothing like getting your hands on the real thing. So, let’s take a look at some of the classic keyboards and synths that some of us still own and many only dream about. This month, let’s take a wander back to 1983 and have a look at the SH-101, produced by Roland.

ANALOGUE RETURN

ROLAND SH-101

WHAT’S THAT SOUND? KEYBOARD

CLASSIC KEYS

KORG Korg got everyone excited in the last couple of years with their Monotron and later, Monotribe, ribbon based miniature analogue synthesisers that were not only compact and portable, but extremely affordable. Now, we see the release of two new products to compliment these with the Monotron Delay and Monotron Duo. The fi rst of these units being a modifi ed Monotron with a built in delay circuit, giving the user even more sonic experiences. The second unit is also a modifi ed variation of the original, but this time it features two oscillators, giving the synthesiser a thick and richer tone that just wasn’t achievable with the original.

MOOGMoog Music is one brand that has stayed true to the quest for analogue tone all these years and 2012 sees them releasing yet another innovative instrument to compliment its already extensive range. The release of the Moog Minitaur sees the company coming out with a compact desktop synthesiser that features a knob for every function, so there is no need to scroll through menus or use

Japanese manufacturers Roland tend to feature a lot in this column and that is down to a number of reasons. Partly because I am a big fan of their classic synthesisers and do own quite a few, but mainly because they were so instrumental in furthering the development of their instruments and constantly came out with so many new innovations. It is hard to look past them really. So, when we go back to

1983 and have a look at the SH-101, it was a big move for them then and is still a keyboard that is highly sought after today.This little beast really stacked up the points with its ‘cool’ factor. It was the sort of keyboard that the eighties were just screaming out for and it got eaten up by the consumers. A small, 32 key monophonic synthesizer that was perfect for bass sounds that fell somewhere in between the heavy and clunky Juno-6 and the ill fated TB-303. It was built into a plastic shell so it was extremely lightweight and portable and took up very little space for the size of the sound it created. But best of all, it could be strapped on like a guitar and with the optional hand grip that featured a pitch bend wheel on it,

and could really add to a group’s stage presence. If that wasn’t enough, it came out in a grey colour to begin with, but was later released in blue and red too, for all those fashion conscience musicians of the eighties. After all, your keyboard simply had to match your eye shadow.It was a relatively simple design with a single oscillator, LFO and ADSR controls on the VCA. There was a typically Roland sounding fi lter section and a 100 step sequencer and arppegiator giving you a simple selection of patterns, being Up, Down and Up/Down. Being released right as MIDI implementation was kicking off, the unit did not feature MIDI Ins or Outs, nor did it have a patch memory. But later modifi cations from the usual

suspects meant that the SH-101 could take a MIDI module for greater implementation. The SH-101 was a typical case of less is more. It was defi nitely the right keyboard for the time, giving the user style and looks, but keeping operation simple and functional. These days, they tend to be hoarded by techno producers who just can’t get enough of the fat eighties bass sounds that Roland came out with, but they do turn up on the second hand market from time to time. Unfortunately, you tend to pay more for the ‘cool’ factor than you do for the synth.

By Rob Gee

function keys to get access to the parameter you want. This is going to get a lot of people excited as it will compliment many existing setups giving the user thick and rich bass sounds that just have to be heard to comprehend. It really gets down low and the fi lters work in overtime to make the sound all the more rich.

ARTURIAPossibly one of the biggest releases of the year will be the Arturia MiniBrute. I have bitten my tongue with the knowledge of this instrument for some months now, but I am glad to fi nally be able to spill the beans on it. From what I have seen, this is going to be a huge hit with fans of classic analogue synthesisers. The company that began with software emulations of hardware synths has now gone one step further and are bringing us not

only an amazing keyboard with an incredible set of features, but one that is really going to shake the market up with its low price. I have mine pre-ordered already and am eagerly awaiting them to start shipping. This little monster looks

like it is going to live up to its name in tone and functionality.

By Rob Gee


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FILLING USING DOUBLES ON THE FLOOR TOM AND BASS DRUM

BANGIN’ THE TUBS

In the sort of gigs I do – corporate, weddings, jazz, R&B, Funk, Latin, Gospel etc. the double bass drum pedal isn’t super appropriate. Let’s face it. Unless you’re Dave Weckl in your own band or in a hardcore Metal band, where is the ‘double kicker’ okay to use? Certainly not in a bridal waltz that’s for sure. Not that this article is going to debate this issue. I merely have a little fi ll that could give you some ideas and has given me the desired effect at times without having to go through that conversation of why I’m setting up a double pedal at a wedding.

After watching some Gospel drummers like Aaron Spears and Gerald Heyward, you can see alternatives to two feet. First things fi rst though – these guys have a lethal right foot and have speed a plenty. The following fi ll is something to help you develop speed in the right foot and can lead to other concepts and ideas. The basic concept or sticking is a double stroke in the right hand (RR) and a double stroke in the right foot on the bass drum. That’s it! Simple in conception yet requires some practice to execute quickly. Both the hands and feet will need speed work.

In FIGURE A you can see the fi ll written as sixteen notes and between the fl oor tom and the bass drum. You could try it all over the drum set but for now we’ll stick to the fl oor tom. Where the fi ll sounds a little fancier is when it’s played double time in 32nd notes (FIGURE B). Now, you can just play a groove for three bars and whack the new fi ll in the fourth bar and it will sound cool. Or you can take it a step further.

In FIGURE C you can see a groove happening. This is because while the right hand and right foot are being used, the left hand is not. Hence why this groove example has the left hand playing 8th notes on the hi-hat and then coming down to the snare drum for the back beat on 2 and 4. A way of moving forward could be to use

your left foot to play the hi-hat so the back beat too so the 8ths note hi-hats don’t have a gap. Or alternatively, you could even play the left foot in 8th notes constantly leaving the left hand free to just play the back beat or a more complicated snare pattern.

In FIGURE D I have provided an example of where I would use this type of fi ll in context. So there’s two bars of groove and then I state the fi ll for one beat (in 32nd notes) starting on the ‘a’ of beat four in the previous bar. I then try to seamlessly go back into the groove and then state the fi ll again. If you can play what I’ve written, you’ll understand how the fi ll can be a little more versatile. Not to mention trying triplets, splitting double over two toms etc. There’s a stack of options. Have an experiment and enjoy!

By Adrian Violi

I see a lot of people spending their hard earned money on studio monitors for their home setups every day. Now, this is a good thing, don’t get me wrong. I always recommend people getting good quality monitors that will give them a as true a response as possible. After all, if you mix your music with poor monitors, you will invariably end up with a poor mix. What continues to amaze me however, is how many people will shell out the bucks for good monitors and then run them from unbalanced outputs, or worse still, split from the headphone output on their laptop! I mean, this is like buying a Ferrari and fi lling the engine with diesel to save a few bucks on running costs. It just doesn’t work.

THE WEAKEST LINKI have said it time and time again; your system is only as good as its weakest link. So, spending a thousand dollars on a pair of monitors is not going to help if you are running them on a ten dollar cable from a computer output that is designed to drive headphones. No, this just does not make any sense. If you want quality monitoring, and let’s face it, who doesn’t really, then you need to consider more than just the speakers in this process. The cables you run them from are just as important, is you choice of output from your computer or mixer.

BALANCED, PLEASEFirstly, you really need to ensure you are running

balanced cables to your monitors. So many people I come across baulk at the fact that a good quality balanced lead can cost about thirty or forty dollars. But, when you take in the bigger picture that is chicken’s feed when you compare it to the money you have just spent on the monitors. But it isn’t enough to use the leads; you must also make sure you are running into the balanced inputs of the monitors and out of balanced outputs from your interface or mixer. If all three factors aren’t balanced, then you end up running an unbalanced signal which is susceptible to noise and interference from computer power supplies and other electrical devices. So, once you have your new monitors, check your interface for a balanced connection and get the right lead to run

ACHIEVING A BALANCE

HOME STUDIO HINTS

from that to your monitors. DON’T go running them off a headphone output and wonder why you get a nasty high pitch squealing or all sorts of unwanted low end droning.

A/D CONVERSIONSo much emphasis is placed on digital conversion when getting your signal into your computer, but it is often forgotten at the other end when you consider your monitoring signal. If the digital conversion suffers here, what you end up hearing is not an accurate representation of the recorded sound. That is again why it is just not a good idea to run with the headphone output from your laptop. The converters on the motherboard are designed to drive a signal that can be translated by a set of headphones to give the listener a comfortable signal in their headphones, but not a truly accurate response of the signal. So, ensure your audio interface has good quality conversion on the way in and on the way out too. Otherwise, you might as well plug in those old hi-fi speakers you have sitting in the spare room and save yourself the cost of expensive monitors.

By Rob Gee

R R R R R R R R

A

R R R R R R R R R R R R R R R R

B

C

D

RR RR RR RRR L R

Fill as 16th Notes

Filling using Doubles onthe Floor Tom and Bass Drum

Adrian Violi

Fill as 32nd Notes

RIGHT HAND

LEFT HAND

Within a groove

Example in Context

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When quality is this affordable why not have your own studio before your single debuts?

PreSonus Australian Roadshow

SydneyTue 21 Feb 7.30 – 9.00pm

Pullman HotelSydney Olympic Park

BrisbaneWed 22 Feb 7.30 – 9.00pm

Novotel Hotel200 Creek St, Brisbane

MelbourneMon 20 Feb 7.30 – 9.00pm

Novotel Hotel16 The Esplanade, St Kilda

PerthThu 23 Feb 7.00 – 8.30pm

Kosmic94 Hector St West, Osborne Park

TO REGISTERSend your Name & the State of the show you would like to attend to:

[email protected]

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To promote PreSonus’ updated products, new competitive pricing and advanced software we have decided to do what anyone in the music biz does and are hitting the road!

Come along and catch the latest in audio recoding technology at a venue near you. Featuring demonstrations of the StudioLive console range, the new StudioOne 2 recording software and the groundbreaking QMix Control Software for

iPhone & iPad, discover how easy and affordable it really can be to have your own studio at home!

With the added bonus of goodies to be thrown into the crowd throughout the evening, a few lucky fans will head home with some sweet gear - and we aren’t talking a guitar pick!

While this is a walk in event, places are limited so please register your interest to secure a spot! Registration information is below.


Classic - of the fi rst or highest quality, class or rank. Originally released in 1991 the Peavey Classic all tube amp met with much adulation for its classic American tones. Housed in a tweed covered cab the amp harked back to some early amp stylings and was seen being used anywhere from rock to blues to country to jazz. With an updated chassis design Peavey have reissued an old favourite in a range of formats (30 watts, 1x12, 2x12 etc) with us having a look at the 50 watt 4x10 combo.

OLD FAVEThe story goes that the inspiration for this amp came from Hartley Peavey seeing a Bo Diddley concert in Mississippi in 1957. So taking in that vintage vibe you’ve got a tweed covered cab that looks a treat with a brown ish/ox blood dark red sorta grill cloth. Steel corners and control plate for a solid recognisable look and black strap handle and some black chicken head/pointer looking knobs - classic. Control wise there there are Normal and Bright input jacks, a 3 band EQ, presence, normal and lead volume controls, a channel select switch for lead or normal channels, a master volume, reverb level and lead pre and post gain controls.

I FEEL THE NEED FOR TWEEDFour EL84s and three12AX7s onboard here and 4 of Peavey’s own 10” Blue Marvel speakers for that classic amp setup. Normal channel - normal gain/vol control for desired level, tweak the EQ, verb and then move master volume and presence to taste. Spanky and bright you can roll some tops or presence off for a rounder tone or push the channel vol control to make it push a little harder. This will

do clean country twang, jangly rock, rounder blues and warm jazz with some playing around. Onto the lead channel and you’ve got the ability to set the pre gain which is the input vol of this channel. You then would work the post gain which controls the overall volume once your desired sound is set. It takes a little getting used to but once you’ve got your head around it you’re away - slight broken jangle

to some grittier action all with the backup of 4x10’s moving air for you.

CLASSIC CATCHTheir is something about 4x10s that really feel good. Not so much for volume but the extra spread and dynamic that it throws makes for good times indeed. Both channels are usable and whilst you might be inclined to setup the clean channel and then run some pedals you do have the lead channel for switching if you prefer. The reverb is big and can do washy at higher settings if surf or ambient spatial sounds are what you’re after, otherwise 3-6 for a less intrusive effect. Presence will push those tops that bit extra and works to give you some more edge in the mix but don’t be a super shrill bridge pickup, full presence ice pick kind of guy - keep them tame! One of Peavey’s faves and best sellers and it’s easy to see why – classic.

By Nick Brown

ROAD TESTED

Distributor: Yamaha Australia

Price: RRP $299.99

Phone: (03) 9693 5111

Website: au.yamaha.com

PEAVEY CLASSIC 50

Distributor : Audio Products Group

Price: RRP $1699

Phone: (02) 9669 3477

Website: www.audioproducts.com.au

One of the biggest independently owned musical instrument and pro audio suppliers in the world, Peavey don’t just sit back and watch the world change. From guitar gear to pro audio and pa equipment they are still committed to research and development and have had good success with guitar amps in particular. Early associations with Eddie Van Halen and then moving onto the 6505, Classic series and Triple XXX amps Peavey gear has been used by a range of players from Bullet For My Valentine to Sevendust to Lynard Skynard and Ted Nugent.

CHECK YO GRILLEWith 120 watts of power on tap the 3120 is a 3 channel amp (get it 3120??) - clean, rhythm and lead. The clean channel has vol, bass, mid and treble whilst the rhythm and lead channels feature the same lineup along with a gain knob for adding some dirt. Well laid out, the faceplate is rounded off with a master volume, input jack, channel select switch and fl ip switches for power and standby. A tough looking character the 3120’s combination of metal grille, black tolexing and corners sit well against the white fonts and chicken head style knobs - cool. A range of outs, effects loop, impedance selector, bias points and damping switch further adds to the fl exibility of the 3120 and should cover most bases for the rock/metal player.

BEAUTY AND THE BEASTPeavey have gone for 4 EL34s and 4 12AX7s under the hood of this 120 watt beast and you’re not going to have any shortage of juice. Designed to work well through 4, 8 or 16 ohm cabs I gave the 3120 a run into both an 8 and 16 ohm speaker cab with good results. Typically Metal players would go for a

pristine verging on hifi clean tone (as opposed to an old valve sound) and I dug what I heard here. Patch in some of your own verb, delay or modulation and you’ve got a solid base to work with. Tap into the rhythm or lead channel and see where the 3120 really excels though. Tough, valve distortion where you can really work the gain, volume and master volume controls to set your tone and level and the amp will keep up. I liked Peavey’s EQ section making for super scooped modern tones or adding some more mids for more of an old school heavy rock vibe. The fact that there are 3 channels with independent EQ is a plus especially if you want to set different levels and do a lot of switching mid song.

BIG BOYThis amp is defi nitely aimed at metal and heavier rock styles and bangs plenty of features and headroom into its tough exterior. The 3 channels make for plenty of variation whilst additions like the damping switch and ability to switch the power amp section use 6l6GCs if you wish adds more features to your lineup. There are certain elements you need for a good metal tone, with good EQ and sonic range and a robust clean tone to boot - the 3120 does a killer job of both and looks a good option for those wanting channel switching metal goodness.

By Nick Brown

PEAVEY 3120 HEAD

Distributor: Audio Products Group

Price: RRP $2299

Phone: (02) 9669 3477

Website: www.audioproducts.com.au

When I was asked to write a review of the Planet Waves Cable Station Cable, it was pretty easy: I’ve been using this product for about a year now at home and on stage. The concept of the Cable Station is simple: some cable, some connectors, and a little cutting device. This gives you everything you need to create your own custom cable lengths for whatever application you like: patch cables for pedalboards, musical instrument cables to go from guitar to pedal, from pedal to amp, from guitar to amp - whatever you like - and cables to go from your guitar to your wireless.

GOOD AS GOLDThe way you wire up your pedalboard is also extremely important, and it really shouldn’t be skimped on when you’re budgeting your board. I always encourage players to use the best quality cable they can afford - after all, we all know that the weakest link in the chain can derail everything pretty easily. The actual cable (ten feet of it) is double insulated and employs braided copper shielding and metalised polyester foil inner shield to screen out interference. The ten right-angle plugs are 24k gold-plated for improved signal fl ow and corrosion resistance, and they featured patented compression springs for nice positive contact. And the coating of the cables has that ‘repel instead of attract’ thing going on which prevents it from getting tangled. Nice.

CUSTOM CUTSTo install the Cable Station cable, you back off a set screw, insert the cable onto a little pin inside the connector, tighten a screw, cut the cord to the desired length at the other end, and repeat. No soldering is required, and this makes it really easy to cut the cables to exact custom lengths and install them quickly.

A LITTLE RESPECTA word of warning: I cannot fault the Cable Station for its sound quality and durability, but any problems I’ve had with it have been due to user error. I’ve been too gentle with the set screw tightening and had cables yank out when my pedalboard was stored on its side and a pedal became un-velcroed. And I’ve had the cable pull the wireless pack off my

strap in the middle of a gig because I wasn’t careful enough when cutting that cord to the right length (it was just a little bit too short for my rockstar aspirations). That’s really not Planet Waves’s fault, but it’s something to consider when using it: make sure you respect the gear and use it thoughtfully and exactly as intended, and you’ll be right. But despite its ease, the solderless system doesn’t do everything for you. You defi nitely have to take care and pay attention.

The Planet Waves Cable Station is a great way of customizing your pedalboard or streamlining your guitar rig. It’s not idiot-proof, as I found out, but if you treat it with respect it feels like it’ll last a lifetime. Since I learned those two valuable aforementioned lessons I haven’t had any further issues at all, and if someone ever nicked my pedalboard I can confi dently say I’d buy the Cable Station again to wire up the replacement board.

By Peter Hodgson

PLANET WAVES CABLE STATION

Dis trib u tor: D’Addario Aus tralia

Call for pricing

Phone: (03) 8761 6293

Email: [email protected]

Once again, Yamaha have taken a keyboard that has proven popular and expanded the range to make it even more accessible to more users. For those of you who know of the NP-31, you will no doubt be aware that it offered incredible value for money as a portable grand like no other. Now, Yamaha have given us the newest version in the NP range, the NP-11 which takes all the good bits of the original but packages them into a slightly shorter frame with 61 notes. This now represents the best value entry level portable grand for beginners that Yamaha have ever released and I’m sure it is going to be popular.

SLIM AND SLENDERAs with the other models in the NP range, the NP-11 is a very compact keyboard. It has 61 touch responsive keys that although not having a true piano feel, do offer a more realistic feel too many other models in the price range. They are a closed, piano style key, and not just a slim extrusion of plastic. So, if 88 weighted notes is too heavy and you just can’t see the point of 76 notes, or don’t have the space, the NP-11 gives you the look and feel of a quality stage piano without the weight or price tag. It only weighs a little less than 5kg, so the term Portable Grand has never been truer.

HEAR THE DIFFERENCEYamaha has had countless years in development of digital pianos and keyboards, so you know that when you purchase a Yamaha keyboard, it is going to have quality sounds that you will enjoy playing and listening to. The NP-11 is no exception, making full use of Yamaha’s Advanced Wave Memory stereo sampling which give you rich sounds from the use of multiple waveforms. Just because you want a keyboard that is

affordable, doesn’t mean you have to expect it to sound cheap. With a 32 note polyphony and ten onboard voices to choose from, the NP-11 isn’t weighed down with unnecessary bells and whistles, but just good quality piano, organ, harpsichord and strings sounds. And of course, the inbuilt speaker system with a very tidy pair of 2.5 watt amplifi ers for the stereo speakers means you can plug in your NP-11 or load it with batteries and start playing straight away.

NICE TOUCHThe NP-11 has all the options as the larger 76 note NP-31. There are still the headphone output and both MIDI input and output, but the front panel has been redesigned for ease of use. A recessed power button and rotary control for the volume give you a smoother and more delicate touch to how loud you want to play. Furthermore, Yamaha have included a handy power saving feature that turns the keyboard off after 30 minutes of inactivity. This means longer battery life or lower power bills and makes the NP-11 more eco-friendly than the older model. With 10 onboard demo songs, 4 reverb types, a handy metronome with varying options and a music rest included, the NP-11 is ready for you to start playing and begin enjoying. It should be landing in the shops very soon, so keep your eyes out for the NP-11, or if you want the larger option, have a look at the Yamaha NP-31 with 76 keys.

By Rob Gee

YAMAHA NP-11 PORTABLE GRAND


ROAD TESTED Country guitarist Albert Lee is a freak. One of the true greats able to play totally in the pocket in a very tasteful, rhythmic manner, then slice your head off with a seemingly impossible fl urry. Lee’s longstanding signature Ernie Ball Music Man guitar is much the same: both restrained and outrageous, traditional and exotic. The most common, three-single-coil confi guration betrays an obvious lineage to the Fender Stratocaster but to think of it as just a pointy Strat is to do the guitar a great disservice. And that fact is hit home even further by the EBMM Albert Lee HH. The twin-humbucker HH has the same basic outline as the triple single version, with its angular body horns and a very ‘designy’ forearm contour which follows the path set in motion by the slope of the top edge of the cutaway.

TASTY BLENDThe body is made of African Mahogany, fi nished in a high gloss polyester and available in all of EBMM’s Standard Classic Colours range. The company goes to great pains to ensure that all guitars weigh in within a specifi c range - around 2.95kg, give or take a little, or 0.2kg more for the tremolo version. The neck is select rosewood with a select rosewood fretboard as well, featuring a still-curvy 10” fret radius and simple oversized position marker dots. There are 22 high profi le, medium width frets, and the back of the neck is fi nished in EBMM’s special gunstock oil hand-rubbed special wax blend. Tuning machines are Schaller M6-IND locking units. The neck is attached with EBMM’s famous fi ve-bolt join, and the truss rod is accessed through the base of the neck on the fretboard near the neck pickup, so you don’t have to remove a truss rod cover or the neck itself to tweak the setup.

ON THE ATTACKThe bridge is EBMM’s standard strings-through-the-

body model, chrome plated, hardened steel with vintage steel saddles. Ditto for the trem option. Pickups are a pair of custom DiMarzios with chrome covers, and the controls are limited to a pair of 500k pots for volume and

tone, and a 5-way pickup selector switch which selects humbuckers or various combinations of coils. Although naturally the HH is capable of nice snappy clean tones, especially on its single coil settings, for me the really, really good stuff was in the full humbucker sounds. These aren’t particularly high output units, and that’s what allows them to push out such dynamically lively tone. The bridge pickup has a particularly dry character which works very well with overdrive (as opposed to full-on distortion), and it’s one of those pickups that really encourages you to vary your pick attack for some great Santana-esque phrasing. The neck pickup gets nice and juicy when you really dig in with the pick, and it sounds comfortably mellow when you play softly. A little slapback or analogue delay and mwah!

Amazing sophisticated lead tone. But it’s wonderful for rhythm too - that perfect balance between note clarity and chordal ‘meshing together.’ And

when you palm the pick and play with your thumb, it sounds velvety and very, very cool.

I wouldn’t use this guitar for metal, and it wouldn’t be my fi rst choice for super-spanky country, especially in a world where the SSS version of this guitar exists, but it’s great for those who need a slightly fuller, girthier tone, be it for rock, blues,

fusion, pop or various other in-between-clean-and-death-tone styles.

By Peter Hodgson

MUSIC MAN ALBERT LEE HH

Distributor: CMC Music

Price: Starting from $3050

Phone: (02) 9905 2511

Website: www.cmcmusic.com.au

Planet Waves are well known for their cables and leads by just about every musician out there. They sure stand out in the stores with some of the best designed packaging going around, but it isn’t just all about the box. It is about the lead that you get in it. Their Custom Series of cables brings you all sorts of options for instrument, microphone, speaker and specialty cables to suit just about every need. So, if you are looking for a high quality cable to fi ll a gap in your audio chain, the Custom Series from Planet Waves probably has something that will do the job.

LEAD FROM THE FRONTSo many people I know tend to think that speaker cabling is not that important an issue. I even see people trying to get away with using instrument leads between amplifi ers and speakers, which usually ends in bad results. So, just as guitar players put some much stock into their instrument cables, all musicians should consider the leads they are using to run to their passive speakers in a PA setup. If you have poor quality leads, or ones that just don’t last, your system is going to let you down. The Custom Series speaker cables from Planet Waves are guaranteed for life, so you should hope that they are going to be part of your kit for quite some time. Therefore, it is important to make sure they sound good to begin with.

WHAT GOES IN MUST COME OUTThe 14 gauge oxygen free copper conductors in the Custom Series speaker cables ensure your get a seamless transfer of your audio signal down the length of the cable. This, along with the polyethylene insulation and out polymer jacket make them quite

a thick cable that is ready to withstand much of the abuse that speaker leads see in day to day use. The last thing you want is a cable that can’t handle being trodden on a few times, but the Custom Series cables are ready for the abuse. Combined with gold plated connectors and fully sealed, strain relieved ends, the Custom Series leads give you the same sound on output as what you put into them. This is not a cheap cable that is going to colour your sound in any way, or worse still, degrade it over the length of the cable. Planet Waves have put a lot of research into the audio cables, especially the Custom Series to ensure that what goes in one end is just what comes out the other. If you want to change your tone, buy an EQ unit; don’t risk it on a poor quality lead.

ACROSS THE BOARDThis sort of quality is not just found in the speaker cables by Planet Waves. All across

the board in the Custom Series you get similar quality in build and materials. So, if you

are looking for microphone cables or guitar leads that won’t let you tone down by the time it gets to the other end, take a look at Planet Waves Custom Series cables.

By Rob Gee

PLANET WAVES CUSTOM SPEAKER CABLE

Distributor: D’Addario Australia

Price: RRP $49.99

Phone: (03) 8761 6293



There seems to be a hole in the market for a decent busker’s amp that has true rock cred. Even some established brands that make really well spec’d amps seem to skimp on the cool factor, and frankly, when your’e competing with those fl amenco guys and the dude with the weird d o u b l e - n e c k e d guitar in Bourke St Mall, you need something a little extra to set you apart. Hiwatt has addressed this very real and very universal problem (I’m s u r e players in Times Square have the same trouble competing against the Naked Cowboy) in the form of the Maxwatt Busker BSK 158 amp.

LOOKS TO BOOTThis clever little unit is designed to not only sound the part - obviously that’s very important - but to also look the part. Part stage-ready monitor wedge, part classic Hiwatt combo, this little bugger looks like it really means business. Mean business. If you happen to be a rock guitarist in a busking situation, the last thing you want is to have your mad licks emasculated by a wimpy looking amp. You can rock out with pride when this prime-pedigreed piledriver is backing you up.

FULL OF LIFEBut looks aren’t everything. Really. So the Maxwatt Busker BSK 158 features some pretty impressive specs. For starters, its layout means you can either orientate it in the aforementioned speaker wedge format (great for shooting the sound up towards listeners so your rock power can penetrate beyond the shins of the fi rst row of people), or you can turn it on its side and stand it up on the four little feet. It’s nicely adaptable. Importantly, the amp can operate on either AC or DC power, with an internal rechargable battery. It includes a DC socket as well as a 12v car charger input, and the battery life is between two and eight hours, depending on how much volume you make the amp crank out.

There are two channels: a microphone channel with high and low inputs, a level control and a tone control; and an instrument channel with a gain control and three band EQ. There’s also a boost channel for cranking out more volume and gain. Oh, and there’s a headphone output too.

ROCK THE MICThe microphone channel

works well enough, with an acceptable level of tonal control available, although some

kind of ambience effect, even a very simple one like a basic reverb, would be welcome. The instrument channel is voiced to get along well with a wide variety of instruments, from electric ones with magnetic pickups to acoustic ones with piezos and even keyboards, and there’s a great degree of tone control available. There’s a defi nite midrange ‘poke’ to the sound which will defi nitely help you stand out in a loud environment, like some kind of natural mixing/mastering perfectly tailored to a busking setting. When you kick in the boost, a great distorted guitar sound is available. It’s thick and warm with nice dynamics, and great for everything from blues solos to rock and metal leads.

The Maxwatt Busker is a surprisingly versatile amp that will serve you well at home or at a jam as well as in a busking situation. There’s no dedicated mp3 input or reverb control, but if you don’t need those particular features there’s a lot of other stuff to love here.

By Peter Hodgson

Based in Canada Godin guitars are the product of their namesake owner Robert Godin. With a range of models from nylon string acoustics to solid body electrics to arch tops to midi equipped hybrids and a heap in between they have been making guitars since the 70s. These days whilst encompassing a few different brands - the likes of Seagull, Simon and Patrick and La Patrie also under the Godin umbrella and aiming at various other markets Godin continues to produce a range of quality guitars whilst pushing the boundaries with hi tech features for quite an interesting mix.

A TOP ARCH TOPAimed to ‘make the affordable North American arch top a reality’ the 5th Avenue Uptown GT is a cutaway guitar with some nice looking woods. A fl amed maple top with Canadian wild cherry back and sides and a silver leaf maple neck. The top is a beautiful gloss which brings out the lovely grain whilst the back, sides and neck are a semi gloss which looks like more of a rubbed sort of matte fi nish. It’s a nice contrast that looks and importantly feels good. Cream binding, black top hat style knobs and a Bigsby tremolo system again mean that the Uptown looks the goods with classic stylings and still shows Godin’s refi nements in shape and features. In the hardware department you’ll fi nd two of Godin’s own custom hum buckers, a 3 way toggle switch, volume and tone controls and a roller saddle adjustable bridge with Tusq base made by Graphtech.

UPTOWN GIRLAgain, I like the combination of the gloss top and semi gloss sides, back and neck but I also like the feel this gives. It’s not fully worn but isn’t the super slick gloss and almost gives you a little something to

hold onto. Then factor in that the neck isn’t shred machine pencil thin and you’ve got a player. The GT’s hollow body design resonates nicely with sustain and volume that could sit in with blues, jazz, rockabilly or rock. Of course the bigsby looks cool but it also works a treat on this guitar and the combination of it and

the roller saddles seemed to hold the tuning in good stead, and could probably withstand a fair amount of abuse.

YOUR LATEST TRIC I also need to make mention of the included TRIC case which at fi rst might look like a big, foam case. In fact it’s Godin’s own designed case giving you the protection of a hard shell case with the weight of a gig bag. A cool addition that seems to do exactly what you need.

THE GOLDEN ARCHESNothing cooler than an arch top guitar in my books and the Godin 5th Ave Uptown GT has looks in spades. The fact that it plays well and

carries a good range of tones makes it a winner. Again, yes this will do the

warm round jazz and blues tones but you can also spark up some howling rock sounds making it more than a one trick pony. If vintage hollow bodies are a bit out of your price range, but you want a quality axe, Godin

have your answer.

By Nick Brown

SR Technology were founded with the sole aim of ‘providing the very best in sound quality and technical innovation’. Making a of speaker systems and live sound solutions they cater for applications from the quiet solo performer to screaming high powered PA systems. Looking to cover the acoustic musician or small combo the Jam 150 is a clever little unit to handle your sound needs without getting in the way.

ONE FOR ALLThe dilemma of performing a small gig but needing more volume than a practice amp is a common one. I’ve played plenty of gigs where a powered speaker on a stand can be overkill, but a little 15 watt practice amp doesn’t quite cut it. Yep you could go a slightly bigger amp, but what if you need some vocal too? Or how about a little mixer and speaker? bit of extra hassle and then you’ve gotta sit the mixer on something and not be in the way. Picky little things I know, but issues just the same. So the Jam series from SR technology looks at professional audio quality with maximum convenience and minimum weight. Somewhere between a guitar amp and a mixer the Jam 150 plus features a combination of channels with eq, effects and various outputs for an all in one vocal, guitar, backing track, amp.

SOUND THE HORNAn 8” woofer and a compression horn take care of the sound duties and seem to handle most things fi ne. The max power is rated around low 120w - 240w or high 30w - 60w and you will get good results with acoustic guitar, vocal, even keys at decent volume. You could plug in an mp3 player easily too and the inbuilt effects (by Alesis) can smooth out a dry vocal or instrument nicely. Oh and condenser mics are cool thanks to Phantom Power. The 150 is the second smallest in this line, but there are plenty more options both bigger and smaller in this and their other models so SR have

got you covered. Looking like a hifi speaker the Jam150 has a control panel on top, recessed handles on the sides and rounded front grille and the whole thing comes housed in a beautiful polished wood cabinet - very slick! Channel 1 and have both jack and xlr inputs and full channel control with high, mid and low tone controls, effects level and a volume control. Channel 3/4 has low and high impedance

jack inputs and share a channel strip with the same controls as

channel 1 and 2. Then you have 5/6 which is another shared channel

with rca jacks (a pair of left and right) and then low and high Eq controls and

volume knob. Rounding out the control panel you have an xlr line out left and right record out jacks, ext/eff send and record out level, effect return and master volume knobs as well as a phantom power switch and an effects select button - pretty extensive.

SEND IN THE REINFORMCEMENTSSo, you can get the 150 in a black lacquer if you need to stay with the uniform ‘band black’ look, something about the wooden fi nish looks a little less intimidating or harmful though which isn’t a bad thing when trying to slot in for a solo set at a church ceremony or the like. Portable, easy to use and well built - seems to really fi ll a void in the sound reinforcement market.

By Nick Brown

FRANCISCO DOMINGO FG-27 CLASSICAL

HIWATT MAXWATT BUSKER BSK 158

GODIN 5TH AVENUE UPTOWN GT

SR TECHNOLOGY - JAM 150 WOOD ACOUSTIC COMBO

Distributor: CMC Music

Price: RRP $295

Phone: (02) 9905 2511

Website: www.cmcmusic.com.au

Distributor: Dynamic Music

Price: RRP $1399

Phone: (02) 9939 1299

Website: www.dynamicmusic.com.au

ROAD TESTED

Francisco Domingo guitars are designed by the same good folk that developed the Antonio Hermosa brand and come from the successful Recording King label that has produced a range of tasty steel string acoustic guitars. This is the realm of Classical model guitars though and the Francisco Domingo brand is aimed as professional yet priced for working folk.

REFRESHINGNylon string guitars are some of the most pure and natural sound instruments of all. For many the nylon string isn’t a favourite however. Commonly it’s something we didn’t really like as a youngster playing cheap and nasty instruments at school or as your fi rst guitar (maybe handed down to you by an uncle with rock star leanings). Of course you wanted to play electric guitar as soon as possible and it’s probably not til later in life that you then discovered the beauty of a nylon string. Whilst straightforward in appearance and looks their tones can be complex and involved and there’s something about a nylon string that is refreshing and makes you want to play - especially after playing electrics for awhile.

TOP GRAINThe FG-27 features a solid cedar top, solid east Indian rosewood back and sides and a mahogany neck with ebony fretboard. In a gloss fi nish you get a classy look and feel and I really like the look of the slight lighter coloured cedar top which highlights some

grain and contrasts nicely with the darker back and sides. The workmanship is great, with smooth edges and no real blemishes in the fi nish, with simple yet effective binding.

GETTING SERIOUSTonally the FG-27 was clear and even with good volume and balance. Straight out of the box the action and intonation were good too. The FG-27’s neck is chunky but not massive and was comfortable to get around right up to the 12th fret where the neck joins the body. Tuning was good and the gold plated tuners seemed to hold well whilst the bone nut and saddle are

another nice touch. Yes there are many schools of thought but the hardness

of bone offers stability and tone and is the preferred material of most serious builders.

With several models available at various prices and solid features the Francisco Domingo brand looks like it’s on the right track. If you need a well priced nylon string or just want to banish those old memories of terrible classical guitars check out the Francisco Domingo line of guitars.

By Nick Brown


Price: RRP $1899

Phone: (02) 9939 1299

Website: www.godindirect.com.au


Price: RRP $419

Phone: (02) 9939 1299

Website: www.recordingkingdirect.com.au


Perfecting loudspeakers for over 80 years...Still working on the hair.As one of the oldest established loudspeaker companies in the world, Tannoy knows a thing or two about studio monitor design. In fact, they pioneered the use of compact monitor systems in the 1970’s with the famous Tannoy Super Red.

Tannoy have continued to be leaders in the art of precision sound reproduction ever since and you can hear how 80 years of research and expertise sounds in the new Tannoy Reveal range. Tannoy’s quest for sonic perfection has never changed... but thankfully the haircuts have!

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Hear the REVEAL Series at these Authorised Tannoy Monitor Dealers:

Reveal 601A Active $949 Pair RRP

Reveal 501A Active $599 Pair RRP

www.tannoymonitors.com.auTel: 1800 251 367

[email protected]

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ECSTASY. FACE FACTS.


ROAD TESTED JBL are certainly well renowned for their powered speakers. I think I can speak for everyone reading this in saying that you have all heard one if not many different pairs of JBLs in some venue at some time. But, a lesser known fact is they also offer a wide range of broadcast quality audio products including studio monitor speakers and matching subs. Those of you who know these and have heard them will understand that JBL take this sector of the market very seriously and produce very high quality monitors. Those of you who don’t should read on, as your next monitor speakers could in fact be the JBL LSR2325Ps matched up with a LSRJBL 2310SP sub.

LSR2325PThese monitor speakers represent the entry level range of studio monitors from JBL, but are in no accounts an entry level unit. They not only deliver clarity and depth of sound like nothing else in the price range, but they do it with a sleek and stylish design that would look the part in any professional or home studio setup. They feature a 5” low frequency driver and a 1” tweeter to give you a full range sound that really does need to be heard. The LSR2325P offers you three input options with balanced LXR, balanced TRS and unbalanced RCA connections to suit any setup and three way switches for both low trim and high trim to balance the speakers in the system around the room space being used. The volume control is indented to allow you to fi nd the same level on all speakers and the magnetic shield ensures they will not affect your computer monitors at close range.

LSR2310SPThe LSR2310SP is a powered subwoofer designed to complement the other monitor speakers in the LSR2300 range. Couples with the LSR2325P monitors, its 10” driver gives you the low end punch that the 5” drivers of the LSR2325Ps just don’t quite have. It includes outputs for a pair of monitor speakers so you can run your signal through the sub into your LSR2325Ps and set the correct crossover frequencies to suit. Inputs are supplied on a pair of balanced LXR, TRS or unbalanced RCA connections for stereo through signals. I found this really worked well with the LSR2325Ps, bringing the audio image together to create a fuller sound that left nothing amiss.

COMBINED EFFORTA good sub is essential to ensure you get enough low end in you monitoring, otherwise your mixes will suffer with you compensating for that lack of low end that you are not hearing. And the best sub to suit any monitors in the LSR2300 series is by far the LSR2310SP. So often I see people settling for any old sub to match with their monitors, thinking the low end just needs to be there, but isn’t too important, but they couldn’t be further from the truth. With these monitors and sub matched up, a smooth response is delivered across the entire frequency range leaving your ears to only judge what is missing in the mix and not what is missing in the speakers. The only improvement these could enjoy is to be treated with the RMC function on the JCL MSC1 controller, ensuring that they are set up to work with the room’s acoustics most effi ciently.

By Rob Gee

JBL LSR2325P & LSR2310SP STUDIO MONITORS & SUB

Price: RRP $559 each (LSR2310SP), $299 each (LSR2325P)

Distributor: Jands

Phone: (02) 9582 0909

Website: www.jands.com.au

The MSC1, or Monitor System Controller, from JBL gives computer recording artists the fl exibility of a large format mixing console’s m o n i t o r i n g section in a simple and compact desktop unit. It handles all you monitoring signals, whilst allowing you to control the signal fl ow and volume. But better still, it comes with JBL’s RMC, or Room Mode Correction technology and a calibration microphone and software to help you set it up. Let’s take a look.

SORTED FOR FLOWThis handy little unit allows users with a computer recording setup to benefi t from the monitoring section of a large format console without having to take up all the space that such a unit can demand. It allows you to connect three separate monitoring signals, two on 6.5mm jack connections and one on RCA connections. You can then run two separate pairs of monitors from the unit as well as a sub and headphones, all connected from the rear panel. On the top there are a number of controls at your fi nger tips. An input volume allows you to trim your level to a suitable volume to begin with, accompanied by signal and clip LEDs for reference. You have a separate volume control for your headphones to one side with a large control wheel in the centre for you master volume, allowing small adjustments in listening levels easily. You are able to select between the three input sources by the use of two buttons at the top, which sit next to a speaker selection button. Surrounding the volume wheel, four more buttons allow you to mute the signal, engage an EQ, engage the sub and engage the RMC system. Which leads us to the next part of the system...

ROOM TO MOVEAs every control room, or home studio is different and reacts to the monitor speakers differently, it is important to ensure that these speakers are

optimised for the natural acoustics of the room. This is where JBL’s Room Mode Correction technology

or RMC is so i n v a l u a b l e . With the use of the included

r e f e r e n c e microphone and

analysis software, you can set the

system up to work at its best for your listening position. The microphone is placed in the listening position to hear just what you would hear within the room. Them with the use of the software, you are able to calibrate the system to optimise the audio output from your monitor speakers and sub to best suit the environment. Once this has been set up, the difference is astounding. It is almost like spending another two or three thousand dollars on better monitors, but even better. Disengaging the RMC mode really makes you understand just how important a system like this can be. It is all well and good to spend money on high quality monitors, but until you hear them through the RMC mode on the MSC1, you just can’t be totally sure of what you are listening to. All the unwanted frequencies that get caught up in the room’s architecture are pulled out so that what you hear is a truer response of the speaker’s signal. Basically, I cannot tell you how good this unit is. You simply have to get one and hear it for yourself. If you are serious about your monitoring in your studio, then you can’t go without an MSC1 and the RMC technology. Plain and simple.

By Rob Gee

JBL MSC1 MONITORING SYSTEM CONTROLLER

Distributor: Jands

Price: RRP $449

Phone: (02) 9582 0909

Website: www.jands.com.au

For a long time Alesis have offered audio engineers and musicians a wide range of tools for getting the most out of their sound. I have owned all number of their signal processors over the years and still use a number of them on a regular basis with great results. Now, Alesis brings us their latest in small format units with the Microtube Solo, a half rack spaced valve microphone preamplifi er that is simple to use and simple in design but gives you great results without a high price tag.

ON THE FRONTThe front panel of the Microtube Solo really couldn’t be any simpler. You have an input gain control that gives you a range of +20dB to +65dB on input and a drive control from 0 the +5dB for you output. There is a -20dB pad switch to lower the gain for high sound pressure level applications as well as +48V phantom power on a separate switch. You also get a switch to engage a low cut fi lter at 80Hz and a phase inversion switch. Rounding off the front panel is a VU meter that’s illuminated in blue to give you a visual idea of the level running through the preamp.

AROUND THE BACKThe rear of the unit has one input and one output. Both of these are available on either balanced XLR connections or unbalanced 6.5mm jack connections, making it easy to integrate the unit into any setup. Power is also supplied to the rear panel with the supplied 18v power adaptor, running a 1 Amp current draw, necessary to get the amount of gain the unit delivers.

IN OPERATIONThere are all number of budget microphone pre-amplifi ers on the market and many of them tend to give your signal more noise than they do character. The Microtube Solo is not one of those. It operates with little self noise, which can only really be heard if you are running fairly high gain settings without any signal running through the unit. Once it is in operation, the operating noise is not to be heard. It delivers plenty of gain for a small unit and offers a subtle warm tone. You do not get the dry sound of a typical microphone preamp that you fi nd in most common mixing units, but a detailed warmth that really livens the signal. This little unit does not just boost your level; it also adds its own character to the sound, making it achievable and affordable to add some further richness to your recordings or even to spruce up your vocals in a live rig. I found the VU meter to be more of an aesthetic feature than one you would regularly use, but it is a good indicator of when you are pushing the unit too hard and need to back of the gain to avoid harmonic distortion. Then again, there are some applications where you might want to ignore it altogether and push the gain as hard as you can. In the end, your ears should be the judge and the Microtube Solo is ready to receive their ruling.

By Rob Gee

ALESIS MICROTUBE SOLO

Distributor: Electric Factory

Price: RRP $145

Phone: (03) 9474 1000

Website: www.elfa.com.au

Randall amps have been responsible for many classic tones over the years, but if there’s one thing they’re especially known for, it’s metal. Dimebag Darrell, Anthrax, White Zombie, M e t a l l i c a … they’ve all created powerful, cutting tones with Randall solid state or tube amps. The Diavlo series sure looks like a metal amp on the surface, especially with that cartoonish skull graphic and the black fi nish. But take a glance at the specs and you’ll see that this doesn’t quite look like an amp designed for metal.

CALL AND RESPONSEFor starters, this 50 watt head has two JJ EL34 power tubes, known for their loose low end and warm mids. But you can swap them out for various other types for different responses: 6CA7, 6L6, 5881, 6550, KT88, KT77 or 6V6. This gives the amp tremendous fl exibility and allows you to fi ne tune the attack and the tonal response to the particular type of music you’re playing. And since the power amp is fi xed bias, you can do so with no set up required.

STAR POWERThe preamp features four 12AX7 tubes, and is based on two channels - Clean and Overdrive. A tube driven Boost circuit can be switched into either channel, effectively turning this into a four-channel amp. There are four EQ controls (Bass, Middle, Treble and Presence), a Master Volume and, tucked away on the back, a Reverb level control for the inbuilt spring reverb. There’s a series effects loop, 4 ohm and 8 ohm speaker outputs, and a footswitch jack for the optional RF252C switch, which offers both channel switching and boost functionality.

SCOOP IT UPI plugged the Diavlo into my Marshall 4X12 for testing, and I used a variety of guitars including an Ernie Ball Music Man Albert Lee HH, an Ibanez

RG550 with Seymour Duncan Parallel Axis Trembucker, and a Fender ‘62 Strat reissue. What became immediately apparent was that although it looks and feels like a metal amp, this is

one Randall that really excels at classic

and hard rock tones too, and it screams blues-

rock tone for days. The key to this is clever balancing of the Presence and Treble controls against each other combined with judicious use of the Boost switch. The Clean channel can be pushed into a powerful crunch or a cutting roar, but if you want chiming cleans you can get those too. And this channel dirties up very nicely indeed if you hit it with a clean boost pedal. But the Overdrive channel is the real star here, serving up dirty, chunky, punchy hard rock distortion, fat lead tones and sizzling scooped-midrange metal. And unlike some Randalls, which seem to sand off the edges of a guitar’s individual tone, the Diavlo really maintains the character of the guitar and pickup you plug into it. The reverb isn’t the best ever put into an amp, but it certainly does the job and its frequencies don’t overwhelm the amp sound. In some ways the Diavlo reminds me of the bits I like the most from Nuno Bettencourt’s Randall signature amp, in terms of warmth, body and character. Like most Randalls it can most certainly do metal, and many different varieties of it, but it’s an awesome rock amp in general, and a hot blues-rock amp too.

By Peter Hodgson

RANDALL DIAVLO RD50H

Distributor: CMI Music & Audio

Price: RRP $899

Phone: (03) 9315 2244

Website: www.cmi.com.au



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We live in a digital world. While analog lovers soldier on, boasting about how their recently repaired tape echo just broke again or the only batteries that can power there 1970s fuzz pedal ha ve been discontinued, digital embracers are basking in sunny fi elds of 1s and 0s.

GET YOUR MOTOR RUNNIN’Enter Rocktron with the Cyborg Digital Destiny Distortion. How could a pedal with such an awesome name not blow your socks of and then invade your planet with technologically enhanced beings? At the heart of the Digital Destiny Distortion is a state-of-the-art Motorola DSP engine that allows this digital brilliance and control to take place in the powerhouse of a pedal.

SET FOR LIFEThe pedal is based around eight pre-programmed distortion types presets include that are called: Edgy Coils (single coil distortion), Dirty, Austin (famous Texas distortion), Crunch (kicking bluesy distortion), Corrosive (hard edge grind distortion), Stack (huge amp stack distortion tone), Rectifi ed (modern metal) and Armageddon (heavy metal). On top of this there is a different distortion voicing (Crunch and Solo) per preset. That is 16 presets of chirpy digital glory.

WHAT’S IN A NAME?Testing these settings through a Japanese Stratocaster into a Mesa Boogie Express with a Pedal Power 2 as a power supply the best

settings where the cleaner options. With some fi ddling with the gain and level settings the pedal bought out the chirpiness and shrillness of the Mesa. Through a Fender Deluxe the heavier settings where more productive and the Corrosive and Rectifi ed settings certainly bought forth some interesting and inspiring tones. Perhaps the coolest thing about the Cyborg Digital Destiny Distortion (apart from the name) is the ability to connect and control other Rocktorn Cyborg devises via midi creating an endless “pedal centipede” of digital glory controlled by the Cyborg-Centipede-King, the Rocktron Midi Exchange pedal.

The Rocktron Cyborg Digital Destiny Distortion come with a HUSH noise reduction function included. This is a great idea from Rocktron as it helps eliminate unwanted noise produced by this pedal. If you are a guitarist obsessed with having infi nite distortion tones available at your toes and love reading informative manuals, then this beast of a pedal is for you.

By Will Teasle

ROAD TESTED

The Deluxe Distortion from Akai is a humble little blingy box pack with every feature you h a v e ever wanted from a distortion device. The fi rst thing you notice about the Deluxe Distortion is that it looks deluxe. It is fi nished with a chrome metal fi nish so those so vain can stare down at themselves as they shred. The six knobs and 4 switches on the chrome box give it a aviation feel that really rocks.

CAPTAIN CRUNCHThe Deluxe Distortion has a level and dist (gain) knobs like most other drive pedals, but its tone shaping three band EQ with the mid frequency selection control puts this pedal into a world of control where few have been before. The EQ is be autiful and musical and the sweepable mids knob is great for scooping out solos to precision or boosting crunchy presence based rhythm guitar.

FLIGHT FACILITYFour switches expand the already endless possibilities of this pedal. Three drive settings can be chosen from Fat, Boost and Warm. These settings effect generally the attack and compression of the sound. The Fat setting produces a round, full sound suitable for chugs, where are the Boost setting was the best when the bridge pick up was in full fl ight. Our favorite lead setting with a Gibson Les Paul going into a Fender Deluxe Reverb was with the boost engaged, high cut off and modern EQ mode. Solo’s where

heard clearly through the mix and had a beautiful screaming detail about them. Switching the driving setting to warm, pumping the mids and putting on the neck pick up churned out some perfect fuzzy

tones. With a Stratocaster the pedal assisted in churning out some grunge classics

with the distortion knob turned to 3am, the amp dirtied

up and it seemed like Nirvana or Mudhoney were in the room.

IN YOUR FACEThere is a high

cut on/off which is great if you are simply

fi lling out a sound rather then being dominant in

a band setting. EQ modes include Modern, Normal and

Classic. Modern scoops the mids more and classic pushes the lower

mids and creates some really cool, old-style warmth. There is even a direct

recording for those plugging straight into an audio interface or desk to allow for some analogue tone shaping love. The pedal can take a 9V battery or 9V DC or 9.6V AC regulated power supply and is true bypass. Although this pedal may take up the space of two standard distortion pedals it can potentially replace all your gain and destruction devises.

By Will Teasle

AKAI PRO ANALOG DELUXE DISTORTION


Price: RRP $289

Phone: (03) 9474 1000


ROCKTRON CYBORG DIGITAL DISTORTION


Price: RRP $459

Phone: (02) 9939 1299

Website: www.dynamicmusic.com.au

It’s no secret that Tokai are back and putting their guitars into the scene with a wide range of models and styles. Known for their quality Japanese versions of an assortment of classics, Tokai have expanded their processes to cater for more price points by utilising other parts of Asia to produce instruments too.

RIC ROCKIt is interesting to note that there aren’t many Ric looking guitars going around these days, but Tokai are fi lling that void. With a throwback to its origins, Tokai have used Rebelrocker as the moniker for these particular axes and they are running the gamut with 6 and string guitars and a 4 string bass. Quite a distinctive shape and look this guitar instantly makes you think of the Beatles, Byrds, Tom Petty, The Who and a host of others. It is an acquired taste and the rounded shapes, chambered body and long neck and deep cutaway defi nitely have their own thing going on.

TAKE ME BACKComing in two of the traditional colours you’re looking at black or fi re glow which is a burst looking fi nish on both the body and headstock. A basswood body with some ply veneers, maple neck and rosewood board make up the chassis of the RG-43 and the guitar felt solid overall. It’s a set neck setup here and the weight of the guitar sits comfortable without any weird leanings. The fi nish looked good – it’s got the vibe right and the control plate, knobs,

pickups all looking the part too for an authentic feel.

GRAB A BITEAs a semi acoustic guitar (a chambered kind of

deal) you get a good range of solid body tones handling cleans and distorted rock tones but the added woodiness and warmth of a hollowbody as well as some extra sustain. Don’t’ get me wrong, this isn’t a jazz box sound it’s defi nitely jangly but has a little added depth thanks to the semi hollowbody. Above all they are known for ‘that’ sound though and pull out some Beatles licks, old rock or more modern alternative tunes and you’ll have a chirpy axe that fi nds its place in the

mix nicely. Thanks to the deep double cutaways access right to the 24th fret is a goer and with a comfy midsized neck you won’t have to wrestle hard to work your way around the fretboard.

REBEL REBELTokai have put out another solid offering with the RG-43 and it’s a guitar that defi nitely harks back to yesteryear, but can still sit in with today’s music and surprisingly cover

quite a bit of ground in between. These styled guitars don’t pop up

much unless you’re paying big bucks for the real deal. The rebelrocker RE-43 is cool as.

By Nick Brown

TOKAI REBELROCKER RG-43

Distributor: Jade Australia

Price: RRP $799

Phone: 1800 144 120

Website: www.jadeaustralia.com.au

MI AMPLIFICATION IRON DUKE

MI Amplifi cation is an Aussie c o m p a n y making killer tube amps with utterly b u l l e t p r o o f c o n s t r u c t i o n and incredibly versatile tone. I recently got my hands on their Megalith amp for some recording and it blew my mind with its approach to heavy, heavy tones. But that’s not all I play, so I was stoked to see the Iron Duke arrive on loan for this review. I lugged it to my music room, propped it on top of my Marshall and plugged it into my 4X12 cab. Let the madness begin!

DUKE IT OUTThe Iron Duke is a 50 watt amp powered by a pair of EL34 output tubes - the same type used in classic Marshalls. There are three 12AX7 preamp tubes, and two channels: Channel 1 and Channel 2. As expected, one is for your clean to dirty tones, while the other takes off where the fi rst ends and goes all the way up to high gain sounds. Each channel has controls for Gain, Bass, Middle, Treble and two volumes. In fact, MI says there are two ways to think of the Iron Duke’s preamp: either as 2 independent channels with a foot-switchable boost or as four ‘channels’, each pair of which shares EQ and gain controls but with independent volume controls. Each of the two main channels also a three-position Attack switch, while all four of the ‘real’ channels has an on/off Mod switch which alters the tonal response. There are also negative feedback-informed Presence and Depth controls, and a three-way Depth Frequency switch which revoices the low end. There’s no reverb but you’ll fi nd a series effects loop around the back.

CLASSIC CRUNCHThe Green channel (Channel 1) is inspired by classic British Class A amps, while its Mod switch extends the lows. The Boosted clean channel is more like your classic British amps, except not as harsh in the high end. The Unboosted overdrive channel is your classic hard rock crunch, and the Boosted overdrive sends the gain into the stratosphere. As mentioned, I’ve extensively played the MI Amplifi cation Megalith amp, which is an impressive monster capable of high gain brutality of the best kind. And what the Megalith is to heavy, heavy tones, the Iron Duke is to rock tones. There’s an openness and clarity to the sound of the Iron Duke which really screams when you use higher gain settings with lower output humbuckers, and it gives single coils plenty of toughness instead of the relative wimpiness that some amplifi ers seem to impart. I guess the overall vibe is that of an expertly modded Marshall, or perhaps a nice subtle input boost applied to a

cranked Plexi and brought down to the point where it can sound great even at bedroom levels. It’s also a very r e s p o n s i v e

amp. I plugged in with my Ibanez RG7620 loaded with DiMarzio Blaze humbuckers - a scooped-midrange pickup - and used the Iron Duke’s generous Midrange control to restore some of the missing middle while cooling down just a little of their high end. What blasted forth was a woody-sounding, warm, chunky, compressed rock tone perfect for modern rock. Hang back a little on the guitar’s volume control though and the tone opens up in a more ‘Classic Rock’ kind of way. Players who like to ride the guitar’s volume control are going to love this amp, as will those who need a fully-cranked, scooped-midrange, compressed-attack 1991 Metallica-style metal tone. Actually, now that I think about it, a lot of the tones reminded me of those achieved by Mick Mars on Motley Crue’s 1994 self-titled album - the one with John Corabi on vocals. Even if you don’t like the Crue, give that album a spin to hear some killer guitar sounds and to get a bit of an idea of the breadth of tones I’m talking about. Punchy cleans, ringing jangles, muscular crunch, raunchy distortion and sometimes even full-on metal.

TOUCHY TONEThe Iron Duke isn’t the best death metal or metalcore amp - the Megalith more than comfortably fi lls that niche - but for any variant of music with ‘rock’ at the end of its name (classic rock, blues rock, hard rock, heavy rock, funk rock, jazz rock) the Iron Duke is perfectly voiced and expertly balanced to give you that magical combination of tone and touch that so many medium to high gain amps seem to miss out on. The Iron Duke is an addictive playing experience because it gives you great rock tones that recall an expertly modded Marshall, but with enough identity that it sounds and feels like an MI Amplifi cation product rather than anyone else’s. I already felt they were onto something great with the Megalith but the Iron Duke really hits it home.

By Peter Hodgson

Distributor: MI Amplifi cation

Price: RRP $1799

Phone: (02) 9519 5902

Website: www.miamplifi cation.com


Jet City Amplifi cation have been inconspicuously mulling around on the sidelines for quite some time now, continuously expanding their line of all tube amplifi ers and impressing anybody who crosses their path. Their amps are meticulously designed with quality and a life on the road in mind, and although they shun the shamelessly exploited idiom ‘boutique,’ they are in reality an accurate incarnate of the adjective. A recent addition to their range of products is a line of quality guitar pedals, four of which have landed upon our shores, and subsequently, upon my doorstep… Lets have a play! Out of the box, the pedals appear somewhat homely, with no effort made to satisfy aesthetics, so I can tell you now, they wont be the prettiest pedals in your rig. But it is plainly evident that these pedals were built to last, with an all steel casing, tried and tested components, and any knobs or switches mounted to the chassis, these bad boys will outlast humanity. So lets have a look at what’s on offer.

OVERDRIVEFirst out of the blocks is the Overdrive pedal which had Primal Fear’s guitarist Alex Beyrodt on the design team. Whether this is an impressive credit or not is a matter of personal opinion. You could play guitar your whole life and still know next to nothing about designing a pedal, aside from the fact that it should be smaller than an amp, but bigger than a plectrum. Nonetheless this is an impressive little toy covering all your classic blues crunch sounds. One of the stand out features for me was the Tone control. Generally Tone knobs are a set and forget feature, sounding good at only one setting, but the Jet City Overdrive Tone control proved extremely versatile, giving bright upfront sounds, mellow fusion sounds, and everything in between. There’s also a brightness switch to clear up any muddy signals.

HI-GAIN BOOSTThe fi rst thing of note about the Hi-Gain Boost pedal is that it is defi nitely not a boost pedal, it is a distortion pedal. Your typical boost pedal just beefs up the signal, adding distortion only at extreme

settings. This guy creates some seriously crunchy distortion sounds at moderate settings, but it does the job giving that kick, and extra sustain you need when soloing.

DISTORTIONThe Jet City Distortion pedal is the black sheep of the quadruplets, it steers clear of the bluesy crunch, and offers a heavy rock style of distortion. The controls are simple, as they are throughout this range of pedals, with a knob for Gain, Tone, and Volume. I didn’t enjoy this pedal at moderate settings, but with the gain cranked, it sung, and although it was a smooth style of distortion, it retained a lot of punch.

AFTERBURNERLast but not least we have the Afterburner Dual-Stage Overdrive pedal. More and more manufacturers are offering these dual gain stage pedals, and I love that, fi nally guitarists are getting what they so desire. The fi rst gain stage is almost identical to the Overdrive pedal above, and on top of that, there’s a knob and footswitch for an extra boost. Another great pedal for bluesy rock, but with one qualm… The Boost control needs more gain, if the overdrive section is cranked, the boost switch does next to nothing, even at extreme settings. It feels to me like there may not be enough voltage to feed both gain circuits. Otherwise its a great sounding unit.

Finding quality distortion is a lifelong quest for many of our riff-wielding brethren, and Jet City are offering some serious contenders here. I cant wait to try the rest of the range!

By Terry Hart

ROAD TESTED With recording methods developing all the time and most of us now harnessing the power of our computers as a multi track recording device, reamping is becoming more and more popular, even though many people still seem to shrug and look confused whenever I suggest it to them. Well, now with the aid of Radial’s REAMP JCR, this process is now even easier to not only do, but to do well. And let’s face it, with the power of computer recording available to us and the ability to often access several different guitar amps for a recording, most musicians would benefi t unbelievably with the ability to reamp in the recording process.

EVEN SPLITThe idea is really quite simple, and one that many musicians probably already use within the box without even realising it. Just as you would with a program such as Guitar Rig or Amplitude, you take your recorded guitar signal and send it back through the amp and effects after you have recorded the perfect take. The only difference is that instead of sending it through a software emulation of the amp, you actually send the audio signal out of the recording device, in most cases the computer, back into a physical amp and record it again through your microphone of choice. This enables you to split your recording process up into two distinct parts. Firstly you worry about playing the track right and just record the clean signal, then, with the help of the Reamp JCR, you send that signal back into your amp and effects and worry about getting the tone right. This means you can experiment with one or many amplifi ers and effects as well as microphone

placement to get the perfect tone for your recording.

TAKE IT EASYThe Reamp JCR has a balanced input on an XLR connection, or unbalanced on a jack connection and a jack output to go to you amp. There is a volume level

to ensure you do not push the amp too hard, a phase inversion and ground lift switch and a simple tone circuit that allows you to fi lter

the high or low frequencies should you need to. This can also

be bypassed if you are happy with the tone from your guitar already.

OH CANADAIt is a simple device that opens up a

world of possibilities in recording guitar and bass parts. Being made in Canada by Radial

Engineering, you know that it is going to be of the highest quality components and is built to last. This little box is as solid as a brick and will stand the test of time in any studio, no matter how rough your guitarists may get. Really, if you want the best tones from your guitar and amp setup in the studio, the only way to get them is with experimentation and the best way to do this is to use a Reamp JCR.

By Rob Gee

RADIAL REAMP JCR

We all remember that momentous occasion – that fi rst time looking down at after a maiden bout of shredding and admiring your set of freshly calloused fi ngertips. Over the years, those fi ngers will have no doubt become accustomed to many long noodling sessions. But no matter how seasoned your digits may be, there’s always moments where a little trace of fi nger pain can be a little bit distracting. Though when it comes down to it, elimination of any fi nger pain is just one of the many benefi ts of using lubricant on your guitar. Faster playing, near-complete elimination of fi nger noise, and extended string life are all perks you can expect from XLR8 String Lubricant & Cleaner.

THE BRIGHT STUFFMany guitarists tend to stay away from string lubricant, feeling that the benefi ts of lubricating don’t necessarily outweigh the tendency for minuscule traces of dirt and gunk – which leads to a slightly diminished string lifespan. Planet Waves overcomes any chance of string decay by crafting XLR8 as a two-in-one wonder, with a cleaner coming part and parcel with the lubricant. So rather than run the risk of shortening the time between string changes, XLR8 bears the distinction of being one of the few lubricants that actually extend the strings’ shelf life. All that, plus you gain the benefi t of prolonged brightness via the lubricant.

HANDLING THE SITUATIONApplication of XLR8 couldn’t be easier, with the a perfectly ergonomic applicator self-contained

within the diminutive (and rather nice-

looking) jar. Simply twist the cap off

and use the handle to

run the f o a m

app l i ca to r up and down the neck no

more than a couple of times, and that’s all

it takes. The tiny tub means that you won’t be sacrifi cing any precious gig-bag real estate, and though it looks tiny, you won’t fi nd your supply drying up any time in the foreseeable future – this stuff seems like it will last forever.

NO SWEATNot only can air-con deprived venues cause increased thirst-levels for any musician, but the increased humidity means gunk build-up in your strings - same goes for gigs in the great outdoors. This is where lubricant starts to become vital factor, as your strings will be well and truly protected in such environments – meaning none of that sticky friction will hold your fi ngers back.

If you’re yet to delve into the world of string lubrication, Planet Waves XLR8 provides all that you could need. Your strings (and fi ngertips) will thank you.

By Lachlan Kanoniuk

PLANET WAVES XLR8 STRING LUBRICANT & CLEANER

RADIAL H-AMP

Distributor : Amber Technology

Price: RRP $299

Phone: 1800 251 367

Website: www.ambertech.com.au

JET CITY AMPLIFICATION PEDALS


Price: RRP $90-$140

Phone: (03) 9474 1000


Distributor : Amber Technology

Price: RRP $299

Phone: 1800 251 367

Website: www.ambertech.com.au

The team at Radial Engineering have really gone out there as far as creative ideas go this time. When I fi rst saw the H-Amp, I wasn’t sure if what I was looking as was right, but further inspection proved to be the case. It is a headphone amplifi er. That part is obvious. And it provides two outputs for two sets of headphones. That much I understood. But it does so off of a powered signal from a speaker chain. What? That was my initial reaction. I told myself; surely you shouldn’t go running a headphone signal from the output of a speaker cabinet that is receiving a powerful signal from the power amp. Well, the guys at Radial have made it possible without the fear of blowing your eardrums to bits.

UNLIMITED POWERThe basic idea for this is so that any musician on stage can take a feed from a parallel connection on the loudspeaker that is used for the on stage monitor. The input connection on the H-Amp is a Nuetrik Speakon 4 pole connector, making it easy to run from just about any speaker on stage, whether it is a front of house box or a monitor wedge and grab and signal to turn into a headphone feed. There is also a thru port on the H-Amp on a Speakon connector, so you can chain up as many of these as you require, giving you a potentially unlimited number of headphone outputs on stage with two coming from every unit. This will make the H-Amp ideal for applications with orchestras or larger concert bands that require a headphone feed.

The H-Amp has two separate outputs, both with their own volume control and a simple EQ circuit that allows you to turn on or off a low, mid and

high cut fi lter. You’re also able to bypass these EQ setting for one of the outputs, allowing

you to get two different signals to both outputs, should the headphones be different and require a different EQ setup. These switches are recessed

into the side of the casing, to prevent the risk of damage,

making them a bit of a nuisance to get to without a small screw driver or

similar tool, but that is a small price to pay for the compact and rugged design

of the H-Amp.

ROCK SOLIDBeing made by Radial Engineering, you know

that this is a box that is going to go the distance. It has been designed to be used in a live environment and take any punishment that might come its way. The compact design sees all the switch and controls recessed to reduce the risk of damage and it is built like the proverbial. You are going to have a hard time trying to destroy this unit. When the world is only inhabited by cockroaches and nothing else, at least they will still have quality headphone monitoring at their disposal.

By Rob Gee

Distributor: D’Addario Australia

Price: RRP $13.99

Phone: (03) 8761 6293



Akai have made a name for themselves in recent years with their range of MIDI controller keyboards like the MPK series. Now they have gone one step further and created a keyboard controller that works in conjunction with their new iPhone application. Now, I am not usually one to get excited about ‘apps’, nor am I one to come up with a reason to actually owning an iPhone myself... but I think I may have just found it. The new SynthStation25 from Akai is possibly the coolest reason I have ever seen for rushing out and buying a phone with a piece of fruit for a logo.The SynthStation25 is a portable controller keyboard designed specifi cally for use with an iPhone and Akai’s new application, SynthStation. It is a 25 note mini keyboard with pitch and mod wheels and eight buttons for interacting with the application. You seat the iPhone within the cradle on the keyboard and launch the application (which unfortunately you have to purchase separately, but for only a few dollars) and the keyboard then becomes the master controller for the powerful synth engine within the software.

THERE’S AN APP FOR THATThe keyboard itself runs on batteries and you get plenty of hours use out of one set. I had one running for weeks before I had to consider changing batteries. The rear of the keyboard has a pair of RCA outputs for running the unit straight into a speaker system or recording setup and also has a USB connection to use the SynthStatio25 as a MIDI controller keyboard. But enough of the boring stuff. What happens when you launch the application?The SynthStation application gives you an extremely powerful synthesizer in your iPhone. You don’t even need the keyboard attached to use it, but once you have done so, you will never go back as it makes it so much easier to work with. There are three separate synth engines and a drum machine

within the software, all of which can be played separately by selecting

one form the buttons on the controller. You can also shift the keyboard up or down through the octave range from the controller, or skip

from one program to the next.

C’MON TOUCH METhe software is fairly easy

to navigate with the phone’s t o u c h screen (as long as you haven’t cracked the screen before using it). There is a simple menu setup with options for adding effects and a mixer for the three synths and the drums. You can then delve deeper into the synth’s architecture and tweak just about any feature you could think of. Imagine the greatest analogue synth you have ever come across and multiply that by three and you will get an idea of the amount of control you have over your sounds within the SynthStation application. There is even a built in sequencer for laying out songs with the different synth engines!

PHONE HOMEBut, it’s just a phone, I can hear you saying. Yes, well that may be so, but it is the best sounding phone I have ever come across. The designers at Akai have put a lot of work into getting this application to sound amazing and it does. It offers rich, full analogue modelling synthesis that would stand up to many computer software synths. So, get yourself the application for a few bucks, see what you think and then get yourself the SynthStation25 to make full use of the beast.

By Rob Gee

AKAI SYNTHSTATION 25


Price: RRP $299

Phone: (03) 9474 1000


ROAD TESTED

There are all number of DAWs out there and some of them tend to get a lot more press than others, but as is so often the case, the one that often goes unnoticed has so much more to offer than people realise. This is exactly the case with Magix’s DAW software Samplitude Pro X. Many people may not have used it or even seen it running, so it is understandable that they may have reservations about going down the unknown road, but as is the case with Samplitude Pro X, it may well be worth it.

A TOUCH OF MAGIXSamplitude Pro X offers perfectly integrated audio and MIDI recording, editing and mastering all within a complete package that gives you a wide variety of plugins and enables you to work within one environment without the need for additional third party software. Samplitude has been developed through many stages since 1992, so you know the guys at Magix have got it down to not only make your workfl ow quick and easy, but to also offer you a superb audio engine for amazing results.The interface is surprisingly easy to get your head around, even if you are coming from another DAW. As with all DAWs, the layout is fairly similar, but Samplitude Pro X takes things further offering the user 32-bit fl oating point DSP audio recording and processing. All mixer functions can be automated with 5.1 surround mixing based on the architecture of analog mixing consoles to make it as fl exible as possible.

PRESERVATION STATIONSamplitude Pro X is all about offering a neutral sound. The software is not trying to colour your sound at all, but rather it allows you to work with a transparent canvas so that it only changes your signal when and how you want it to.Making recording and editing easier is the revolver tracks design which allows you to replace takes of a complete track underneath the effects, fades and

signal routing that is already applied to the track. You can remove and replace the audio without losing your original takes, which are stored for recall should you decided to go back to them at a later stage. This is ideal for getting the perfect take of a track after the initial recording and mix has been done and you want to rework some parts rather than laying overdubs on top or deleting parts that you may decide to fall back on later. This is part of the non-destructive editing process that allows you to apply fades

and effects and cut the audio parts up without damaging the original audio fi le.

SPELL IT OUTOne great feature is the ‘object oriented’ editing facility. Audio can be split into objects and shifted around without damaging the original audio. You can apply separate effects and plugins to each object which will follow the object no matter where you more it, saving time in automating features. You can even go so far as to split a single word into separate objects for each syllable and EQ or pitch shift each object differently.It is all too easy to just make up your mind on what DAW you are going to use based on what someone else told you, without really getting a chance to try it for yourself and see if it has what you need. Well, before you dive into the deep end, have a look at Samplitude Pro X. Drop into your nearest dealer and they can give you a free 30 day trial so you can take it home and see for yourself. You won’t be disappointed.

By Rob Gee

MAGIX SAMPLITUDE PRO X

For more information:Syntec International

Australia: Free Call 1800 648 628 New Zealand: Free Call 0800 100 755

www.sennheiser.com.au

NEW!SENNHEISERXS WIRELESS

XS WIRELESS is your entry to the wireless world. No matter if you are a speaker, singer or musician – these wireless all-in-one packages provide you with reliable transmission and excellent sound quality.

Featuring:

From Only $599

D I G I T A L D I V I D E N D

READYDistributor: Innovative Music

Price: RRP $499 (Pro X), $999 (Pro X SUITE)

Phone: (03) 9540 0658

Website: www.innovativemusic.com.au


ROAD TESTED Bass players are at a distinct advantage compared to guitar players. Their amplifi cation requirements have more to do with clean headroom and punchy power compared to tube saturation and speaker distortion, and this allows them to get away with much, much smaller amps than the hulking behemoths that guitarists often have to contend with. Bass players can have large tube amps, of course, and many classic rock sounds have burst forth from them. Now, Ashdown does the big bass amp very well indeed. But they enter the small, small amp fray with the MiBass 550, which packs 550 watts of Class D power into a teensy case measuring just 8.3 by 2.6 by 6.3 inches - including an internal power supply! Class D amplifi ers generate a square wave where the low-frequency portion of the spectrum is considered the ‘wanted’ output signal, and of the high-frequency portion serves no purpose other than to make the wave-form binary so it can be amplifi ed by switching the power devices. The unwanted highs are smoothed out by a passive fi lter and, minus a few important by eye-crossing details, there you have it. Ashdown also offers the MiBass 220, which is 220 watts and with similar features.

SPLASH OF COLOURThe MiBass 550 includes active and passive instrument inputs, precision interactive tone shaping via semi-parametric three-band EQ, Deep and Shape switches, an EQ In/Out switch, an output level control and the it-wouldn’t-be-an-Ashdown-without-it VU meter. There’s also a panel-mounted line input with level control to jack in an MP3 player or what have you. Around the back you’ll fi nd combination Jack/Speakon speaker outputs, a Pre/Post switchable balanced DI output for direct connection to a PA system or recording console, an effects loop send and return and a headphone jack. And here’s a fun feature: you can change the front

panel of the amp with other colours, or design your own and attach it to the amp.

TAKE A LOAD OFFI tested the amp with the

Ashdown VS212 2X12 300 watt speaker cabinet. This box,

part of the company’s Dual Tube range, weighs 31kg and is designed to complement the company’s Dual Terror bass heads. It looks great, if a little out of place with the MiBass. The MiBass uses a Bang & Olufsen power section, and it has an incredible warmth compared to other Class D amps, and it seems to be especially profi cient at handling the rounder feel of passive pickups. It’s easy for a Class D amp to sound killer with an active bass but the MiBass is very versatile with whatever bass you plug into it. And rock players, who normally fi nd themselves shackled to bigger, heavier

amps, will be able to scale down their weight load. Aah, but those players who need real slap-pop sounds for pop, jazz etc can get some very sub-and-tweeter vibed sounds. Active players might especially like that the MiBass has an EQ Bypass switch, which lets you basically run the amp as a power amp, using your bass’s preamp as a surrogate amplifi er preamp. The VS212 provided a good range of highs, lows and mids but I would love to try this amp through a dedicated full range speaker setup, especially for those hi-fi tones.

The MiBass 550 may not have the same kind of visual appeal as amps like the Ashdown Little Bastard, but it has plenty of charm of its own, and is a great way for non-rock players to get Ashdown quality with a smaller footprint.

By Peter Hodgson

ASHDOWN MIBASS 550 & VS212 CABINET

To celebrate their 50th Anniversary Audio Technica have released an even better version of their already awesome AE5400 cardioid condenser microphone as the AE5400/LE. Audio Technica are one of the world leaders in manufacturing microphones and headphones. Best of all, there products are very high in the value for money rankings.

RAW POWERThe AE5400 is designed with the same large diaphragm element as the renown AT4050. The AT4050 is a classic and is a must for all project to professional studio. The AE5400, however, is a live microphone that has studio features and allows singers to reproduce the clarity and performance they get from a condenser mic from the studio to the stage. Basically it is a studio condenser packaged in a solid live mic style 18cm body with some awesome live features.

GENUINE CLASS“What’s new in the LE” I hear you say? Well, the main inclusion in the LE model is a custom transformer that really warms up the sound. Audio Technica have packaged the LE in a super sleek matte silver body with blue accents and have etched a serial number on the body that screams class. Through in a wooden box and this limited edition is a truly special package to add to anyone’s mic arsenal.

NICE AND CRISPWe fi rst tried the AE5400/LE on male backing vocals. It really stood up and provided solid clarity in the lower mids and a super fl ighty high end that rivals studio mics twice the price. The new output transformer really warms up the sound and in the digital recording world what is wrong with a little bit

more analog transformer warmth. The 80Hz high pass fi lter was perfect for cutting out any unwanted noise and would be very useful in a live setting. Anything that allows the mixer to not touch the EQ is a good thing, right? We recorded a snare with an SM57 on the top and the AE5400/LE on the bottom. The AE540/LE’s -10dB switchable pad came in handy and gave us some extra freedom recording a loud source. Have no fear as the max SPL the AE5400/LE can handle is a huge 147dB. On female lead vocal it really shone. The transformer really warms up the lower mids and the clarity in the high end is something to behold. The high end is crisp and detailed with out being brittle and harsh. The vocalist was so impressed with how the AE5400LE captured and portrayed her vocals she did not want to part with it.

In the studio environment we used a pop fi lter however we quickly realised that the

inbuilt windshield and fi lter are fantastic and would hold up to the rigors of live vocals

as the AE5400 was intended. Plosives and sibilance are nulled and the high end is still clear. Phantom power is require with this baby so check with venues or get your own power. The AE5400/LE’s frequency response is 20Hz to 20,000Hz making it useful for many studio applications.

By Will Teasle

AUDIO TECHNICA AE5400/LE

Distributor: TAG

Price: RRP $595

Phone: (02) 9519 0600

Website: www.tag.com. au

Ampeg is well known for their legendary bass amps like the SVT, but that’s not all they can do. The J-20 guitar amplifi er is pretty spectacular, and in the 90s they offered a hot rodded high gain amp designed by legendary tech Lee Jackson which actually had an ignition key so nobody else could use your amp. Today Ampeg offers the GVT15-112, a combo amp with a 12” speaker and classic Ampeg styling which will feel instantly familiar to anyone who has so much as glanced at an SVT.

SPEAKING MY LANGUAGEThe GVT15-112 runs at 15 watts, switchable to 7.5 watts. The power section rocks a pair of 6V6GT tubes, while the preamp has a duo of 12AX7s. The rectifi er is solid state. Controls are minimal: Gain, Treble, Middle, Bass, Volume and Reverb. There’s only one input (no Hi and Lo inputs here), and while the Power switch is fairly standard, there’s also a three-position Standby switch. The Center position is the Standby mode, but the top option is the full 15 watts and the Half option is 7.5 watts. The single 12” speaker is a Celestion, one of the most respected names in the speaker biz.

OPEN AND SHUT CASEThe two button foot switch controls reverb and effects loop on/off. It’s sold separately or you can use any other compatible device. It’s a TRS jack so a wide range of two-button single-lead foot switches will work. There are fi ve speaker outputs: a pair of 4 ohms, a pair of 8 ohms and a single 16 ohms (this is connected to the internal speaker). And that’s it! The back panel is technically an open-back, but it has only a relatively small opening which is covered by a grille. You can’t stash your cords in the back like you can with most open backed speaker boxes.

PACKING A PUNCHThe GVT15-112 looks like it might be a good solid state jazz amp - it just has that ‘I do consistent cleans’ vibe about it. But it is most defi nitely a tube amp, as you’ll fi nd out pretty quickly when you crank the Gain and Volume controls and lay in. Because it’s a 15 watt amp and can be dropped down to 7.5, you can get some great warm overdrive sounds at relatively neighbour-friendly volumes. And at a certain point these tones start to compress and punch. The treble can be controlled and corralled

into a smooth, buttery texture, and the low end is just loose enough for the blues but just tight enough for dirty country. Humbuckers seem to compress a little further, while single coils have that classic vintage blues rock punch. The reverb does a fairly good job too, and helps to add atmosphere and shimmer when you need to get all jangly.

The GVT15-112 is a surprising offering from Ampeg. It looks very much like a member of the Ampeg family yet it sounds more like a boutique handmade blues rock amp. There isn’t much in the way of tone sculpting, since the foot switch only controls the loop and reverb rather than (non-existent, in this case) channel switching, but that’s okay because this is defi nitely a set-and-forget amplifi er.

By Peter Hodgson

AMPEG GVT15-112

Distributor: Music Link

Price: RRP $949

Phone: (03) 9765 6565

Website: www.musiclink.com.au

Distributor: Music Link

Price: RRP $899 (MiBass 550), $499 (VS212)

Phone: (03) 9765 6565

Website: www.musiclink.com.au

Aguilar make heavy duty pro-bass gear – made for studio and live work with good tone and reliability. With models such as the DB751 and AG500 featuring on stages and in studios all around the world they have more than proven themselves as a quality name when it comes to bass gear. Typically though higher end gear has come at higher end prices putting it out of reach for a lot of players. This isn’t necessarily so anymore and the fact that these lines have blurred somewhat in the last few years means many manufacturers have expanded their lines to cover more ground without compromising tone and quality. And they can do it smaller and cheaper!

LAUNCHING THE WEBBased on the fully sweet Tone Hammer pedal the 500 is the ‘legendary Aguilar sound’ in a superlight package according to their web spiel. It’s certainly light at just under 2 kilos and with dimensions of 27.3 cms x 21.6 x 7 it makes for an easy carry/fit in a gig bag. Couple the Tone Hammer 500 with a small cab and you’ve got a nifty little rig.

INDICATORS ONThe faceplate is logical with an input jack and -10dB pad button, gain, drive, mid level, mid freq, bass and treble controls. You then get send and return jacks for the effects loop, a master volume control, balanced xlr out with post/pre button a ground lift button and the operate/mute button. Giving you clear indication of what’s happening with your amp there are lights for operate (when the power is turned on) and then standby (comes into play with the operate/mute button) and clipping in case your level is getting a little on the rowdy side.

HAMMER TIMELight and portable, it’s also a cinch to get up and running. Flick on the power and then the mute/

operate button and you’re away. Then it’s just balancing the Gain and Master volumes and some EQ

tweaking. Three bands of EQ is quite standard and all

of these react well on the Tone Hammer 500 - gradual and usable with no huge jumps. The Mid Freq knob is great also, giving you the ability to refocus what frequencies you’re actually adjusting. Gutsy and clean I found the Tone Hammer to be fat and punchy. Not too pristine but definitely not old school rubber band round styled either. I played it at a smallish pub gig through a 2x10 cab with a Fender Jazz with great results. Clean, fat and dynamic and whereas sometimes with other amps I find myself turning up to get heard the Tone Hammer’s punchy low end and lower mids cut into the mix superbly and had me locking in without having to crank it into the muddy mix territory. With just a vocal PA and smaller venue I actually had one guy comment that the tone was great and he was assuming I was running through the PA as the spread and tone were huge - awesome!

LITTLE KILLERSleek and clean in appearance I like the little things like the rounded edges and cool tone knobs. More than anything I love the tone of this amp and it’s the first time in quite a awhile where I’ve thought ‘I want this’ within about 10 seconds. Some may prefer the effects loop on the back for neatness purposes and there aren’t a million extra bells and whistles but the Tone Hammer is one killer little amp (little in size but not in tone and volume). Very impressive.

By Nick Brown

AGUILAR TONE HAMMER 500

Distributor: Intermusic Distribution

Call for pricing

Phone: (03) 9765 6565

Website: www.imd.com.au

AH_GLD_MixDown_40x28cm_.indd 1 7/01/2012 3:50:18 PM


ROAD TESTEDThe Vox AC30 has been an important part of rock - nay, music itself - for more than 50 years. Introduced in 1958, it played a crucial role in the British Invasion of the early 60s, then became the backbone of the garage rock scene; shoegazing ‘80s alternative; modern indie; and let’s not forget its contribution to the sounds of U2 and Queen. But the AC30 has its drawbacks too. It may be rated at only 30 watts, but as we all know, wattage isn’t a measure of volume, and the AC30 can get ridiculously loud. This presents a bit of a problem because it’s an amp that isn’t really performing at its full potential unless it’s pushed to the edge. It also presents a problem because, well, who wouldn’t want to play around with that heavenly tone? Vox to the rescue! The AmPlug AC30 is designed to give you proper pedigree Vox tone in a tiny little unit that attaches to your guitar and rocks your world through headphones.

PLUG INThe AmPlug AC30 has the familiar styling of its big brother, but it does away with the majority of the controls. There are three little knobs - Volume, Tone and Gain - and an on/off switch. That’s all. No reverb, no tremolo. What you see is what you get. There’s a 1/8” headphone jack and an 1/8” Aux input so you can jack in your mp3 player or iPhone and rock out in your cans. The unit is powered by a pair of AAA batteries, although the battery door feels a little bit loose and you might want to gaffer-tape it in place if you plan to do any serious rocking out. There’s a little hole so you can attach the AmPlug to a lanyard, and of course there’s the plug which you actually attach to your guitar. I tried it out with my Stratocaster and it fi t perfectly into the angled jack with no hassle.

GOTTA HAVE FAITH

The tone is distinctively Vox-y. What really makes or breaks a unit like this is how it feels to play, and while there’s obviously no real tube magic packed into the box, it does echo certain crucial tube

amp traits. When you pick harder, the sound gets more distorted and compressed, with higher, toothier midrange and tighter bass. Pick softer and the sound cleans up, the dynamics open up and the low end gets a bit fuller while the highs get darker. Flipping from my Strat’s neck pickup to the bridge, I was surprised by just how different the sound was - unlike some modellers out there, the AmPlug very faithfully preserves the character of your instrument.

ALL IN YOUR HEADTo be a bit nitpicky, my only real beef with the AmPlug (apart from the loose battery door) is the lack of ambience. It feels a little unnatural to hear a completely, utterly dry guitar sound happening right between your ears, because even if you’re playing close to a real amp in a real room with no artifi cial reverb you’re still getting the psychoacoustic effects of the room. But this is not as noticeable if you’re jamming along to an mp3 via the Aux input. The Vox AmPlug AC30 is a great practice tool, sure, but it sounds good enough to use on recordings - either bone-dry and as-is, or with a bit of depth added via some kind of reverb. I’d love to keep one in my guitar case for emergencies and as a secret weapon during recording sessions.

By Peter Hodgson

VOX AMPLUG AC30

PRESONUS FIRESTUDIO PROJECT

Distributor: National Audio Systems

Price: RRP $679

Phone: (03) 9761 5577

Website: www.nationalaudio.com.au

Vox’s Valvetronix series has been a mainstay of bedrooms, garage fl oors and concert stages for years, in both fl oor effect and amp form. Some of the ValveTronix fl oor units are prety hulking, which is a problem if you’re rocking out in a confi ned space, but the ST model addresses this problem.

FLYING VThe ‘Valve’ in the ValveTronix name refers to a 12AX7 triode vacuum tube which informs the 33 amp models, which range from classic vintage to high end boutique to modern high gain. These amp models can be combined with any of eleven cabinet models - a pretty standard feature of modellers these days, and one which pretty quickly reveals how well a modeller really works. The amp models include three each (Standard, Special, and Custom) from eleven types (Clean, Cali Clean, US Blues, US 2x12, VOX Ac15, VOX Ac30, UK Rock, UK Metal, US High Gain, US Metal and Boutique Metal). There are 25 effect models including 11 pedal effect types, 11 modulation/delay types, three reverb types and noise reduction, and there are 50 preset and 50 user programs. The unit connects to your computer via USB, and to your power outlet via a 12 volt DC adaptor (included).

SUSTAINING THE LEGACYThe ValveTronix ToneLab ST has an Amp/Line switch which is designed to compensate for tone colouration depending on what you’re plugging the ValveTronix into, and an Aux In jack for jamming along with CDs, MP3s, iTunes or whatever. There’s a stereo output, built-in automatic chromatic tuner, rugged metal chassis, and - my favourite feature - an expression pedal designed to be reminiscent of Vox’s classic wah wah pedal. It doesn’t look exactly the same, but it has enough of a visual lineage to be a cool nod of the head to the Vox of yesteryear. I think that’s a pretty important thing for a company like Vox to do when delving into high-tech areas

like digital tone generation, tube or no tube.

WARM FLEXThe ValveTronix approach to tone is quite distinctive among the glut of amp modellers out there. To my ears there’s a particular warmth to the midrange,

especially on Marshall and Vox style tones, which really helps to emphasise the tube-like qualities of the models. The tube helps, of course, but this isn’t a tube preamp with digital control so much as a digital preamp with a tube to add warmth. This gives you more fl exibility than if the preamp section was a static analog design. The aforementioned midrange is also great for solo tones, and some of the high gain settings in particular work great with cranked mids, reduced treble and some generous delay and reverb. Edge-of-dirty clean sounds also benefi t from the enhanced warmth and character. The high gain sounds are good but for my money the really great stuff is around the upper mid level of available gain, such as the UK Metal model.The ValveTronix ToneLab ST enters a very competitive market but it has a lot going for it, much of it centred on the benefi ts of that 12AX7. It’s certainly stage-worthy despite its diminutive size, but the player who will get the most out of it will be the home recorder or bedroom jammer who wants stage-type tone at home volume.

By Peter Hodgson

VOX VALVETRONIX TONELAB ST


Price: RRP $299.99

Phone: (03) 9693 5111

Website: au.yamaha.com PRESONUS AUDIOBOX STUDIO

Distributor: National Audio Systems

Price: RRP $299

Phone: (03) 9761 5577

Website: www.nationalaudio.com.au


Price: RRP $65

Phone: (03) 9693 5111

Website: au.yamaha.com

Presonus have expanded on their Audiobox range with a new pack that gives you just about everything you need to get started with home recording. Just add a computer and you are ready to go. This is a great idea for those wanting to start out in the world of home recording but just don’t know what components they are going to need. It gives you a good basis to get started and can easily be built upon later on if your requirements change or grow.

WHAT’S IN THE BOX?The package comes with just about everything you need to get started. Firstly, you get Presonus’ most popular USB audio interface, the Audiobox USB, which takes care of your input and output options for the computer. On top of that, you also get a Presonus M7 condenser microphone, a pair of Presonus HD7 headphones, a USB lead and a microphone lead to get it all connected. Furthermore, the package comes complete with a copy of Presonus’ Studio One Artist software and a getting started guide, so you have no excuses for not getting creative in no time at all.

AUDIO CAPTUREThe front end of this system is in the form of the Presonus M7 condenser microphone. It is a large diaphragm microphone with a cardioid pickup pattern that is perfect for starting out in the home studio. It offers far more detail in its audio capture than a dynamic microphone and has phantom power supplied to it by the Audiobox USB. The interface is possibly Presonus’s most popular one of all time. It offers two inputs for microphone, line or instrument, with two outputs for monitors and a separate output for headphones with independent volumes for each output and gain controls for both inputs. There is also a MIDI In and Out for connection

MIDI devices direct to your computer with the use of the standard 5-pin DIN connections.

MONITORINGThe HD7 h e a d p h o n e s included in the package are a lightweight and c o m f o r t a b l e

design that fully encloses the ear. This

means that you can wear them for extended periods without

them hurting you ear or weighing your head down and they don’t spill too much into the room when recording, so you don’t need to worry about the M7 microphone picking up sound from the headphones as you do overdubs.

FINISHING OFFTo ensure that all this hardware works seamlessly together, Presonus have include their own DAW software so you can record, mix and edit your music. This is a programme that has been developed over many years to answer the needs of creative musicians who just weren’t getting all they needed from other DAWs and one that has been designed to be easy to work with, right from the start. You do not need to get a degree in audio engineering to start recording with Studio One and if this doesn’t give you as many options as you feel you need, you can always cross grade to Studio One Producer 2 or Studio One Professional 2, both of which give the user even more power and fl exibility over their recording and creative processes.

By Rob Gee

For those of you who simply have to have more than a couple of inputs on your audio interface, it can get quite expensive very quickly. And let’s face it; if you need more than two inputs, you are probably going to want eight so you can record a complete drum kit in one take. So, how can that become an affordable and an easily integrated option into your home studio? Well, look no further than the Firestudio Project by Presonus. Eight microphone preamps and all the options you will probably need, all cased in a handy single rack spaced unit. Brilliant!

PLENTY OF OPTIONSThe Firestudio Project gives you eight XMAX microphone preamplifi ers in one easy to set up unit. Two of these inputs can be used for instrument level inputs and all eight can be used for line level inputs too, should you so wish. All eight inputs are supplied with combination XLR/TRS connectors and all can be found on the front panel, so there is no need to go digging around behind the rack whenever you want to change your setup. How I would have liked that option 15 years ago. Input gain controls for all eight channels are all to be found on the front panel too, along with master volume, headphone volume and a headphone output. There are three way LED level indicators for each channel and the ability to turn phantom power on to all eight channels in two channel blocks.

AND ROUND THE BACK?If eight analogue inputs were not enough, you also get eight analogue outputs on the rear of the unit on TRS connectors. In addition, there is a stereo send and return and a pair of main outputs for you

monitor speakers. Couple this with MIDI In and Out on 5-pin DIN connectors and SP/DIF In and Out on coaxial connections and you have a 10 in and 12 out recording setup that connects to your computer via Firewire. I have used these systems before, some years back in fact, as it is not a newly released product from Presonus, but it is one that has not only stood the test of time, but has also seen price reductions since it was originally released, making it all the more affordable.

GET MIXINGThe Firestudio Project is designed to allow you to have plenty of inputs for just about any home recording application as well as allowing you the fl exibility to integrate external hardware into your system. You can even use it to mix out of the box for smaller sessions if you want as there is a wealth of outputs on the unit. It comes bundles with Presonus’ Studio One Artist software in case you are not yet equipped with a DAW to run with it, so you can have it up and running in no time. Now, with the Firestudio Project, you have the power of eight XMAX preamps that are featured in a number of Presonus’ high end interfaces, with plenty of signal routing options, the ability to integrate SP/DIF devices into your recording solution and an invaluable software inclusion. Really, the rest is up to you.

By Rob Gee


MICROBOOK

www.majormusic.com.au1300 30 66 70

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Mixdown Magazine #214