mixdown 224

THIS MONTH’S GIVEAWAY!

THEE OH SEES

ASHDOWN FIVE FIFTEEN MINI RIG

INTERVIEWED:

THE CRIBSTHE DATSUNSBOOMGATESCOLLARTSDAMIEN GERARD STUDIOSROAD TESTED:

AVID ARTIST CONTROLBOSE L1 1S SYSTEM WITH B2 BASSVHT SPECIAL 12-20 RT GUITAR AMPCIOKS DCA PEDAL BOARD POWER SUPPLYALIEN ROCK BASS BY WARWICKSHURE SE215 HEADPHONES FRANK TURNER

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

ISSUE 224DECEMBER 2012

FREE

MIXDOWNMAG.COM.AU

GALLOWS

CATALOGUE OUT NOW!

THE BEST WAY TO START PLAYING TODAYGIGMAKER310This acoustic guitar pack includes an F310 guitar (Spruce top, natural finish), gig bag, Korg digital tuner, string set, strap, string winder, capo, picks and learn-to-play DVD.

NEWWWWNEWNEWNEW

$199

YOUR PATH TO ROCK!GIGMAKER10This pack has a great Yamaha Pacifica guitar and a hot new Vox amp to get you started in guitar playing. The pack also includes a Vox cable, Korg tuner, learn-to-play DVD, strings, picks, strap and string winder. Colours: Black, Dark Blue Metallic, Red Metallic.

$399

NEW

THE NEXT LEVEL IN SOUND AND QUALITY GIGMAKER15RWith this super quality solid-body Pacifica 112J electric guitar and 15 watt Vox Pathfinder 15R amp featuring vintage tremolo and spring reverb, you’ll get all the classic sounds you desire. Also included are a Vox cable, Korg tuner, learn-to-play DVD, strings, picks, strap and string winder. Colours: Black, Lake Placid Blue, Old Violin Sunburst, Red Metallic, Yellow Natural Satin. Left handed version also available in Black.

$499

NEW

ROCK HARD WITH THIS AWESOME PACK GIGMAKERFXThis guitar and amp pack will have you shredding in no time with all the sounds and effects you need. Includes a Yamaha RGX121Z, Vox MINI3 digital modelling amp, Vox cable, Korg tuner, learn-to-play DVD, strings, picks, strap and string winder. Colours: Black, Flat Silver, Red Metallic. Left handed version also available in Black.

NEW

$499

RECOMMENDED BY TEACHERS ALL OVER THE WORLD C40//02Yamaha’s number one beginner’s classical guitar with beautiful tone and legendary Yamaha quality. It has a natural gloss finish and a Spruce top.

MeMeMeetaltalalllicliclic...

$159

EASY TO PLAY LIKE A UKELELE, BUT IT’S ACTUALLY A GUITAR! GL1Half guitar, half ukelele, 100% fun! The GL1 sounds and plays great, has nylon strings, Spruce top and includes a carry bag.

EASYLIKE BUT ACTCCGUITGL1HalHalHalHalHalHaHHalHalHalHHalalHHa f f ff f f ff fffff 100100100100100100010010010100001100sousousousousousousousouououoohashashashashashashashassasaahhahhaSSSpSpSpSpSpSSSpSpSpSSSSSpSSpSSa ca ca ca ca ca ca ca caaa ca ca c

$99

LIVE SOUND HAS NEVER BEEN EASIER STAGEPAS300 Ideal system for parties, busking and rehearsing. This extraordinarily portable PA system features an 8 channel mixer and delivers 300 watts of high-quality power to a pair of lightweight, compact speakers.

LIVE SO ND HAS NEVER BEEN EASIER

$899

$189

EFFORTLESS LOOPING WITH AWESOME EFFECTSVLL-1 Ideal for both guitar and vocal/mic performances, it has two independent loops, infinite layers, loop quantize, 12 effects, rhythm guide, headphone output, and can be battery or AC powered.

NEW

$359

A REVOLUTION FOR GUITAR PRACTICE THR10THR is designed to fit where, when and how you play when you’re not onstage. With big amp response, incredible effects, and hi-fi stereo sound in a package that’s built to meet all of your offstage needs, you’re about to begin a new chapter in your playing. Features USB connection, aux-in jack, Cubase AI, user preset banks, 3-band EQ and can be battery or AC powered.

GET STARTED WITH THIS QUALITY BASS AND POWERFUL AMP RBX170 + BELCAT25BThis bass guitar will suit any type of playing style and is perfect for beginners. The pack includes an RBX170 with bolt-on neck, vintage style bridge, dual pick-up system and includes a powerful 25 watt bass amp. Colours: Black, Dark Blue Metallic, Old Violin Sunburst, Red Metallic, Silver.

$349

THE IDEAL PORTABLE SOLUTIONP105BDynamic sound and natural piano touch packed in a slim, exceptionally affordable digital piano that’s perfect for home, school or the rehearsal room. Special Pianist Styles and a variety of rhythms add enjoyment to your practice, and when you want more powerful sound for parties or on stage, use the AUX outputs to connect to a PA system. Includes music rest, sustain pedal and power supply. Optional stand, 3-pedal unit and piano bench available. (Also available is P105WH in white)

NEW

$549EXCELLENT SOUND AND TOUCH AT AN AMAZING PRICE P35B The portable P35B helps beginners become music virtuosos in no time at all. Thanks to its stunningly realistic sounds and natural touch, it inspires practice by making it fun. No keyboard in its class offers such a powerful combination of features, including the 88-key weighted action, built-in metronome and 10 great voices. Includes footswitch for sustain. Optional stand and piano bench available.

$799

SLIM, LIGHT AND COMPACT NP31 76-key Graded Soft Touch keyboard that’s ready to go when you are. You’ll be impressed by its sensational sound quality. Includes Power Adaptor.

$339

THE IDEAL WAY TO START EXPLORING THE WORLD OF MUSIC PSRE233 61 keys and 100 different accompaniment styles. Remarkable sound and amazing value. Includes Power Adaptor.

$199

THE PERFECT BEGINNING FOR ANYONE LEARNING MUSIC PSRE333 61 touch sensitive keys giving piano playability and added expression. USB port allows easy connection to your computer. Learning music is fun and easy with Yamaha Education Suite lessons and 102 preset songs. Includes Power Adaptor.

$269

A POWERFUL PORTABLE KEYBOARD PACKED WITH FEATURES PSRE433 DJ Patterns to create your own grooves and real-time control knobs that give synth-like expression on the fly! 61 touch sensitive keys, USB ports for easy computer connectivity and song storage and an amazing 731 voices at the touch of a button. Includes Power Adaptor.

$449

NEW

Discover your creativity

FACEBOOK.COM/YAMAHABACKSTAGEPASS YOUTUBE.COM/YAMAHAAUSTRALIA

VIEW THE FULL CATALOGUE AND PARTICIPATING DEALERS AT

YAMAHABACKSTAGE.COM.AU

TERMS AND CONDITIONS This advertisement is part of a national sales program conducted by the distributor, Yamaha Music Australia Pty Ltd. These offers are valid only between 1st November 2012 and 31st December 2012 at participating dealers. The prices set out or referred to in this adver-tisement are recommended retail prices (RRP) only and there is no obligation for Yamaha dealers to comply with this recommendation or the effective program dates. Errors and omissions excepted. Not all products listed in this advertisement are available at all Yamaha dealers. # These products are listed at normal RRP and are not part of this special distributor’s promotional offer. † The “value” specified for the bonus offers is Yamaha Music Australia’s recommended retail price of these products. The Yamaha dealer participating in this promotion may not have sold these products in the past and where it has sold these products it may have sold them at less than the RRP. Other dealers may or may not sell them at the RRP.

$399

$239

$599

COMPLETE CYMBAL PACK TO GET YOU STARTED 000063USET Great sounding 14” hi-hats, 16” crash and 20” ride.

QUALITY PAISTE PACK 000065USET Genuine bronze alloy 14” hi-hats, 16” crash and 20” ride to suit a wide range of musical styles.

HAND HAMMERED FROM LEGENDARY 2002 BRONZE 000180USET Premium level 14” hi-hats, 16” crash and 20” ride.

$899

RECOMMENDED BY PRO’S AND TEACHERS ALL OVER THE WORLDGIGMAKERQuality drum shells, ball-clamp tom holders and sturdy double braced hardware. Now available in Black or a choice of 5 new glitter sparkle finishes.

INCLUDES: Paiste 101 Cymbal Pack Valued at $239#†

with Gigmaker Drum Kit

NEW

YAMAHA QUALITY AT A NEW LEVEL OF AFFORDABILITY DTX400K An easy to use, great sounding electronic drum kit with built-in training functions to get your drumming journey started.

YAYYATAAOFDTAnAnAnAnAnAnAnAnAnAAAsousousousousososousoossousodrudrdrudrdrudrudrudrdrdddrdrutratratratratrartrtratratrtraatrat atraryouyouyouyouyoyoyoyouyyouyouoyyyoyoustastastastastastaststastasstaastataststaaaat

$599

NEW

A POWERFUL AND FEATURE PACKED ELECTRONIC DRUM KIT DTX450K This deluxe model comes with an upgraded 3-zone snare, a Yamaha bass drum pedal, and a premium hi-hat controller to take you to the next level.

NEW

$849

PUBLISHERFurst Media

EDITOR IN CHIEFAleksei [email protected]

EDITORIAL CO-ORDINATORLachlan Kanoniuk

PRODUCTION MANAGER:Pat O’Neill

COVER ARTBaly Gaudin

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

ADVERTISINGAleksei Plinte, Ronnit Sternfein

GRAPHIC ARTISTSGill Tucker, Baly Gaudin, Pat O’Neill

CONTRIBUTORSPeter Hodgson, Rob Gee, Nick Brown, Adrian Violi, Travis Johnson, Zac Cooper

THE CRIBSPAGE 24

ULTIMATE CHRISTMAS WISH LIST SPECIAL PAGE 38

BOOMGATESPAGE 26

- C O N T E N T S -

Well it’s beginning to look a lot like Christmas, and what a year it’s been! We’ve seen tours by the world’s biggest acts, Australian music has re-entered the global spotlight thanks to the likes of Tame Impala, Royal Headache, Gotye, Twerps and many more, and there have been some massive shake-ups with the local music industry. All in all, things are shaping up to be a ripper 2013 with some major developments on the local landscape.This month we feature a corker of a Christmas special, featuring a massive selection of great gear priced under RRP $1000. We also have the usual breaking news, tour announcements, road tests, and interviews.We had the pleasure of speaking to Soundwave titans Linkin Park, Gallows, unstoppable garage punk outfi t Thee Oh Sees, kiwi veterans The Datsuns, band of brothers The Cribs, jangle supergroup Boomgates and plenty more.Enjoy the summer sunshine (remember to slip slop slap!), enjoy the killer acts heading our way for festival season, and keep rocking on from the bedroom to the big stage.

ALEKSEI PLINTEEDITOR IN CHIEF

6 GIVEAWAYS

8 NEWS & TOURS

12 PRODUCT NEWS

22 LINKIN PARK

24 GALLOWS

THE CRIBS

26 THEE OH SEES

BOOMGATES

28 THE DATSUNS

FRANK TURNER

30 COLLARTS

DAMIEN GERARD STUDIOS

32 WHAT’S THAT SOUND?

GUITAR - NEIL YOUNG

WHAT’S THAT SOUND? KEYS

34 ON THE DOWNLOW

BANGIN’ THE TUBS

36 (D)IGITAL (J)OCKEY

HOME STUDIO HINTS

38 ULTIMATE CHRISTMAS

WISH LIST SPECIAL

49 ROADTESTS

FORE WORD

THE DATSUNSPAGE 28

PG. 6 MIXDOWN NO. 224 DECEMBER 2012

- M I X D O W N G I V E AWAYS -

*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.

A massive thank you must go out to all those who entered our Ultimate Acoustic Special Giveaway of the Ibanez Mahoghany AC240 OPN proudly brought to you by the good folks over at Australis Music.

THE TOUGHEST, SMARTEST AND

MOST IMPRESSIVE EON EVER

The EON515XT was engineered for durability, high

performance and ease of use. We have extended the

reach of the current EON technology by improving

input sensitivity, lowering the noise floor, adding user

selectable EQ control, and re-voicing the system for

peak performance and enhanced audio precision. The

sturdy construction and superior ergonomic design

will guarantee a lifetime of reliability and simplicity.

Put it all together and the EON515XT is the toughest,

smartest and most impressive EON ever.

www.jands.com.au

Distributed by

DECEMBER GIVEAWAYBased on the amplifi er design of the award-winning Five Fifteen combo, with the same powerful Five Fifteen head, and partnered by a 2 x 10” cabinet, the Five Fifteen MiniRig is a true miniature powerhouse. Conceived as a home or practice set-up, the Five Fifteen MiniRig actually packs enough muscle to hold its own in small gigs, far outstripping standard practice amps in both quality and fl exibility. The feature set is typically Ashdown, providing all the essential controls you’ll need in an intuitive and logical layout.

For your chance to win, simply follow these steps:

Step 1. Head to our Facebook page (www.facebook.com/mixdownmagazine), like our page if you haven’t already, then share our pic of the Ashdown Five Fifteen Minirig as posted on November 7.

Step 2. Tell us how many watts the Five Fifteen Minirig head is?

Step 3. Email your answers to [email protected] with your full name, address and contact telephone number

One entry per person. Australian residents only. Best of luck!

ASHDOWN FIVE FIFTEEN MINIRIG

LAST MONTH’S WINNER

IBANEZ MAHOGANY AC240OPN ACOUSTIC

‘LIKE

’ US AT FACEBOOK.COM/MIXDOWNMAGAZINE

Like all giveaways, there can only be one super lucky winner and this one goes to Jarod Goldman from Skye in Victoria. Congratulations mate, we look forward to seeing a pic of you strumming on this bad boy shortly. Cheers!

DECEMBER 2012 NO. 224 MIXDOWN PG. 7

Buy any

and get a FREE MP-75Vocal Performance Microphone*

IdIdIdIddddIdddddda aaa aa aaa CoCoCoCCoCorrrrrrrrrrrr

Visit: tc-helicon.com/holiday-rebate

Here’s how it works:Purchase any VoiceLive Play, VoiceLive Play GTX, VoiceTone Mic Mechanic or VoiceTone Single between November 1st and December 31st, 2012, print out and mail in the rebate form, and you will receive a FREE TC-Helicon MP-75 Vocal Performance micro-phone by mail.

Visit www.tc-helicon.com/holiday-rebate for com-plete details and rebate forms.


This is gonna get loud. Resurgent alternative rock trio Dinosaur Jr have locked in some intimate Golden Plains Melbourne sideshows. Lou, J

and Murph will make their triumphant return to Australia, continuing their fl awless run since their reformation in the mid-2000s.

After slaying Australian audiences and critics alike earlier in the year Mutemath are heading back to Australia in 2013 to road test songs for their next

album and continue the love affair that has developed between this amazing band and the country.

It’s a group made in rock’n’roll heaven; Spencer P Jones, the redoubtable, life-hardened troubadour, and former member of The Johnnys, the Beasts of Bourbon and a host of other outfi ts. Joined by James Baker, original Scientist, Le Hoodoo Guru, Dubrovnik and Jones’ contemporary in the

infamous Axeman’s Jazz lineup of the Beasts. The other half made up of The Drones, Gareth Liddiard, songwriter, guitarist, modern-day folk-punk poet and enigmatic bassist Fiona Kitschin. Freshly releasing their stellar self-titled album, the band of gadabouts will hit the road this month.

After months of writing, recording, and touring, New Gods are set to bring their fresh sound to Melbourne and Sydney with two special headline shows. The indie supergroup features Dominic Byrne and Adrian

Beltrame from Little Red (frontman/ songwriter and guitarist respectively), along with Richard Bradbeer on bass (Eagle and The Worm), Sam Raines on drums, and Dale Packard on keys (Ground Components).

The hardest rockin’ Canucks on the massive 2013 Soundwave lineup will join forces for what’s set to be two sidewaves of epic proportions. Sum 41 and Billy Talent are hitting Melbourne and Sydney, bringing

their fi rebrand pop punk showmanship with them. Both acts’ respective shows are invariably madcap, and you can imagine what scenes will be like with both acts co-headlining the same bill.

While in the country with A Perfect Circle for Soundwave, Maynard James Keenan will perform a run of headline dates with his Puscifer brainchild. A Puscifer live show leads their audience through laughter, tears and refl ective enlightenment throughout one night’s performance. It’s a musically

driven evening that merges technology, quirky characters and comedy in what can best be described as an anarchist dinner theatre. Continuing to spiral out in a genuinely innovative and masterful coil Maynard makes an audience tap into themselves and discover masses of introspective depth.

Get ready for outright rock ‘n’ roll mayhem as Jon Spencer Blues Explosion have announced a run of dates alongside their Golden Plains Lucky Seven appearance. Jon Spencer Blues Explosion reformed

after an all-too long break, and swiftly reclaimed their crown as kings of stripped back blues rock brilliance. Support on the tour comes from the very excellent Moon Duo (except Adelaide).

KISS and Mötley Crüe. On the same stage. On the same night. Hell freakin’ yes! Two of the biggest names in rock ‘n’ roll will co-headline a massive arena tour across the nation in 2013. Not only has it been fi ve long years since KISS last toured Australia, but 2013 marks a very special milestone for the rock icons – their 40th anniversary. In all their bombastic and unstoppable glory, KISS will perform fan favorites from their treasure-trove of hits along with tracks from their just–released 20th

studio album Monster. Mötley Crüe are best known for continuing to reinvent not only their live show (with mind blowing elements such as Tommy Lee’s 360 drum rollercoaster) and music (brand new song ‘SEX’ out now), but remain on the cutting edge via social media interaction. After three decades of decadence Mötley Crüe maintains its iron will, capturing new fans and infl uencing musicians across multiple generations. Also joining the monster of a tour will be Thin Lizzy and Diva Demolition.

March 7 – The Corner, Melbourne VICMarch 8 – The Espy, Melbourne VICMarch 10 – The Gov, Adelaide SA

March 12 – Astor, Perth WAMarch 15 – Coolangatta Hotel, Coolangatta QLDMarch 16 – The Hi-Fi, Sydney NSW

March 19 – Astor Theatre, Perth WAMarch 21 – Fowlers Live, Adelaide SAMarch 22 – Billboard, Melbourne VIC

March 23 – The Hi-Fi, Brisbane QLDMarch 24 – The Hi-Fi, Sydney NSW

March 19 – Astor Theatre, Perth WAMarch 21 – Fowlers Live, Adelaide SAMarch 22 – Billboard, Melbourne VIC

March 23 – The Hi-Fi, Brisbane QLDMarch 24 – The Hi-Fi, Sydney NSW

January 11 - Northcote Social Club, Melbourne VIC January 12 - Good God Small Club, Sydney NSW

February 26 – UNSW Roundhouse, Sydney NSW February 28 – The Palace, Melbourne VIC

February 22 – The Tivoli, Brisbane QLDFebruary 26 – Enmore Theatre, Sydney NSW

February 28 – The Palais, Melbourne VIC

March 7 – The Zoo, Brisbane QLDMarch 8 – The Northern, Byron Bay NSWMarch 9 – The Hi-Fi, Sydney NSWMarch 12 – Astor, Perth WA

March 14 – Fowlers Live, Adelaide SAMarch 15 – The Espy, Melbourne VICMarch 16 – Corner Hotel, Melbourne VIC

February 28 – Perth Arena, Perth WAMarch 3 – Clipsal 500, Adelaide SAMarch 5, 6 – Etihad Stadium, Melbourne VICMarch 9 – All Phones Arena, Sydney NSW

March 12 – Brisbane Entertainment Centre, Brisbane QLDMarch 16 – Virgin Australia Stadium, Mackay QLD

TOUR DATES:

TOUR DATES:

TOUR DATES:

TOUR DATES:

TOUR DATES:

TOUR DATES:

TOUR DATES:

TOUR DATES:

DINOSAUR JR

MUTEMATH RETURN TO AUSTRALIA 2013

SPENCER P JONES AND THE NOTHING BUTTS

NEW GODS

SUM 41 & BILLY TALENT

PUSCIFER

JON SPENCER BLUES EXPLOSION

KISS & MÖTLEY CRÜE


Blistering keyboard maelstroms whip sands of sound sweetly around your ears in this frenetic street-crazed Syrian dabke as Omar stands astride majestic as a tree of poetry resplendent in red keffi yeh and Aviators. After tours in the US with the likes of Dengue Fever, Ratatat, Hot Chip, Passion Pit and collaborating with Bjork, Omar and Razid return to Australia.

March 8-11 – Botanic Park, Adelaide SA

March 21 – Rod Laver Arena, Melbourne VICMarch 22 - Entertainment Centre, Adelaide SAMarch 27 – Entertainment Centre, Sydney NSWMarch 28 – Entertainment Centre, Brisbane QLD

March 19 – The Gov, Adelaide SAMarch 20 – The Corner, Melbourne VICMarch 23 – Factory Theatre, Sydney NSWMarch 25 – Lizottes, Newcastle NSWMarch 27 – The Old Museum, Brisbane QLD

December 5 – The Hi-Fi, Melbourne VICDecember 6 – Oxford Art Factory, Sydney NSWDecember 8 – Queensland Art Gallery, Brisbane QLDDecember 9 – Brisbane Powerhouse, Brisbane QLD

FESTIVAL DATES:

FESTIVAL DATES:TOUR DATES:

TOUR DATES:

A massive roster of talent has been revealed in the full WOMADelaide 2013 artist announcement. Joining the extraordinary WOMADelaide lineup is the artist known as the “Golden Voice of Africa”, Salif Keita. Born to royal Malian lineage but ostracised in his childhood because of his albinism, Salif Keita’s distinctive brand of Afropop blends West African groove, jazz, funk and R&B infl uences and his long succession of hit albums identifi es Salif among Africa’s utmost musical identities. Also appearing at the festival will be two other music heavyweights from Mali - the Sahara’s answer to Jimi Hendrix, Vieux Farka Touré, son of the late, great Ali Farka Touré, and Bassekou Kouyaté and his band Ngoni Ba, a former member of Toumani Diabaté’s magnifi cent Symmetric Orchestra - both making their WOMADelaide debuts. Visit www.womadelaide.com.au for full lineup details.

Already announced for Bluesfest around the country, two of the planet’s biggest rock acts come together in a dynamic double-bill when Santana and Steve Miller Band take the stage. One of the greatest musicians and most legendary guitarists of our generation, Carlos Santana is set to ignite our stages once more. His style defi es defi nition, immediately recognizable yet unlike any other. Few musicians can boast the introduction that Steve Miller had to music. The Steve Miller Band has sold more than 30 million records in a career spanning more than 40 years. His trademark blues-rock sound has made him one of the cornerstone legends of his genre.

Widely known and respected as the Queen of Rock & First lady of Rockabilly, we are delighted to announce that Wanda Jackson is not just appearing at Bluesfest next Easter, but is also embarking on sideshow dates in several major cities. Wanda has infl uenced generations of both male and female performers, and is now playing the best ever shows of her life. Wanda’s latest rediscovery in 2011 saw her team up with Jack White to produce her wildly successful album The Party Ain’t Over and has since been working on her 31st studio album Unfi nished Business.

WOMADELAIDE SANTANA & STEVE MILLER BAND

WANDA JACKSON OMAR SOULEYMAN

The 2013 Soundwave Festival sidewaves just keep on rollin’ in, with Bring Me The Horizon and Pierce The Veil teaming up for two headline shows. It’s not often scene kids, screamo fans and metal-heads can agree on a band, but after their explosive rise in popularity, Bring Me The Horizon have

cemented themselves as the dominant force in the scene. Whether they’re screaming their hearts out or gently bearing their souls proves Pierce The Veil are seemingly still one step ahead of everyone else when it comes to concocting energetic slices of post-hardcore.

February 26 – The Hi-Fi, Sydney NSW February 28 – Billboard, Melbourne VIC

TOUR DATES:

BRING ME THE HORIZON & PIERCE THE VEIL

Damien Gerard StudiosSummer Specials - Booking Now

From recording, mixing, mastering toprofessional CD manufacture.

Music Recording Studios in Balmain established 25 yearsPro Tools, 2” Tape, Highly Experienced Engineers

We’ve put together some amazing deal’s that are friendly on the wallet to help bands get ready for releasing this Summer

SINGLE DEALThis deal includes free set up time, 3 days in the studio and mastering

Only $1300+gstYou can also upgrade it to add on cd or vinyl manufacture and even add

upload to itunes and a radio/media service

EP AND ALBUM DEALSIf you want to record more songs and get an EP or Album happening we can add pre production, more studio time and a consultancy meeting using our

experience to really maximise the opportunity for you..Just call or email to check out the options

while we are doing these extra special rates.

[email protected]

www.damiengerard.net T 02 9331 0666

Add us and Like us on facebook –

‘damien-gerard-studios’

ENROL NOW

With degrees & diplomas in Music Performance, Audio Production and Creative Industries Management, Collarts can help turn your passions into a career.

.

collarts.edu.au

For more details call (03) 9281 8888 or visit collarts.edu.au Apply Now Online

make music your career


RADIAL CHERRY PICKER PREAMP SELECTOR PEAVEY XPORT GUITAR INTERFACE

AVID ARTIST TRANSPORT CONTROLLER

ELECTRO-VOICE ZX1-SUB LOUD SPEAKER

RADIAL ENGINEERING GOLD DIGGER 4-CHANNEL MIC SELECTOR

The Radial Cherry Picker is a unique tool designed to improve effi ciency and workfl ow in the studio by simplifying the process of matching the best preamp with a microphone for a given

The Gold Digger is a 4-channel mic selector that enables the engineer to quickly compare the sound of four different microphones while sharing the same preamp. A ‘straight wire’ passive circuit design employs military grade sealed gold relays ensuring the pristine mic signal is maintained without introducing color, distortion or artifact of any kind.

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

For more information on the Peavey range of products, phone Audio Products Group on (02) 9669 3477 or visit www.audioproducts.com.au

For more information on the Avid range of products, visit your local music retailer or visit www.avid.com

For more information, visit www.boschcommunications.com

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

The Xport’s high-quality ASIO and Core Audio drivers offer rock-solid performance for both Windows and Mac OS X. Powered by the USB bus and featuring both Headphone and Line outputs, the Xport provides musicians with a simple, hassle-free digital recording solution. Included with Xport is Peavey ReValver HPse amp modeling software, the only virtual amplifi er that captures the true tone characteristics of vacuum tubes. This state-of-the-art software can be used as a stand-alone virtual amplifi er or with your favorite recording software. We also include the REAPER digital audio workstation software, an advanced multi-track audio production and recording environment for Windows and OS X, is also included with the Xport.

Artist Transport is a compact media controller that enables you to quickly navigate and edit projects with just one hand. Get the features and tactile feel of a high-end console transport section in a more affordable, portable solution that’s ideal for laptop use—and the perfect add-on to Artist Mix and Artist Colour.

Precision-engineered components, high power-handling capacity, and powerful, wellbalanced sound: the passive ZX1-Sub is the latest member of Electro-Voice’s compact and lightweight ZX loudspeaker family. Presenting an optimal combination of performance, portability and effi ciency, the ZX1-Sub is well suited to both mobile applications and fi xed installation.

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

SAMSON MIC, STAND AND LEAD PACK

With everything you need in one box, the Q7VP Complete Dynamic Mic System provides a total solution for anyone that’s in the market for a great microphone with all the accessories. With the Q7VP, you’re not only getting one of the most reliable, professional-sounding dynamic microphones on the market, you’re also getting everything you need to set up and perform. In this package we include a Q7 Dynamic Microphone, a boom mic stand, a durable mic clip, a low-noise mic cable and a system gig bag. With its neodymium element, supercardioid pickup pattern and ability to withstand high sound pressure levels, the Q7 is an ideal vocal mic for both the stage and the studio. And with all the accessories necessary to ensure a professional vocal performance, you won’t fi nd a better deal than this all-inclusive package.

MAHALO UKULELES

The latest release from Mahalo is the Art Series, which includes the following 6 designs; Constellation, Hearts, Smiley Face, Racing Checkers, Spider Web & Skulls. They feature a Maple body, Nato neck and maple bridge, Gold plated geared machine heads with black buttons, Graph Tech Nu-Bone compensated saddle and include a bag. The other cool release just in time for Christmas is the Mahalo U-Can Tin Ukulele case. This is basically a Soprano Ukulele Case which you can slip your uke inside from the fl ip top end (even in a gig bag) for extra protection, and features a very handy handle (no pun intended) and Hawaiian inspired fi nish.

For more information on the Mahalo range of products, contact Australasian Music Supplies on (03) 9549 1500 or visit www.austmusic.com.au

track. This improves the sonic character of the track and provides the vocalist with a more comfortable sound, which in turn allows for a better performance. Four front panel ‘radio style’ selector switches select the active preamp while automatically disconnecting the mic from the others. Completely passive and 100% discrete, the Cherry Picker features a ‘straight wire’ signal path. There is no active circuitry whatsoever in between the mic signal and the preamp. The audio signal switching is performed by a series of military-grade gold contact sealed relays for zero colouration and distortion to ensure a fair and honest comparison between preamps.

DECEMBER 2012 NO. 224 MIXDOWN PG. 13DECDEDEDECEDECDDDDDDDD EMBEMBEMBEMBEMBEMBEMBEMEMEMBEMBEEEMMBEMEE ERER EREER EER 2012012012010110112222 NO.NONO.NNON 22 2222222222222222224 M4 M4444444444 IXDIXDOWNOW PG.P 13

20 Years of AggressionWe proudly celebrate two decades of the most relentless, aggressive high-gain guitar tone, ever. The Peavey® 6505® continues its reign as the amplifier of choice for the most influential artists.

Learn why the 6505® is the sound of modern metal at

WWW.PEAVEY.COM/6505

Innovation. Amplified.®

Ph: 1300 134 400


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

For more information on the Bose range of products, phone 1800 233 050 or visit www.bose.com.au

For more information on the Allen & Heath range of products, contact TAG on (02) 9519 0900 or visit www.tag.com.au

EVANESCENCE FOR MARKBASS LITTLE MARK III

BOSE COMPANION 5 MULTIMEDIA SPEAKERS

PEAVEY CLASSIC 30 GUITAR AMP

ALLEN & HEATH ZED60-10FX & ZED60-14FX ANALOGUE MIXERS

www.ncat.vic.edu.auwww.ncat.vic.edu.au

Music PerformanceMusic Industry

Sound Production

From year 10 to Certificate IVGovt funded Music courses from $200.

Write, Record & Tour while you study.

/ Music Performance/ Sound Engineering / Technical Production / Lighting/ Live Stage Production/ BackStage

/ Digital Work Stations/ Apple Mac computers/ Professional software / Full Recording Studio/ Practice rooms

NCAT specialises in Teaching spaces include

MUSIC

GUITAR MAKING

/ Instrument construction/ Repairs and setups/ Design and documentation/ 3D Modeling technology/ Business planning/ Work placement/ Occupational Health and safety

Develop work ready skills from guitar professionals in manufacture, repair & set up. Work alongside professionals to build solid body and acoustic instruments, using the latest technology.The college is currently taking applications for Certificate III & IV programs.Govt funded programs. Materials charges only. Mature Age applicants welcome

Secure hands on experience through work experience with Maton Guitars Aust

Mature Age applicants welcomeFor a complete listing of Arts & Technology studies go to;

Evanescence Sound Engineer Eddie Mapp is so impressed with the tone and control of Markbass’ Little Mark III that he’s taken the unusual step of installing the amp in his front of house rack! In Eddie’s own words, “I’ve been using a Little Mark III as my Bass Pre and EQ for the Front of house P.A. bass sound, which has been amazing! I’ve had many other engineers inquire about the

amp in my rack to which I simply explain that it does everything that I need sonically so that my channel EQ for the bass stays pretty much fl at.”

Giving your computer an enveloping sound experience via multi-channel content, without the complications of a fi ve speaker sound system, Bose’s Companion 5 multimedia speaker system offers a new level audio quality that’s hard to beat for its size. With two small speaker arrays and a hideaway Acoustimass module, the system is compact and easy to set up- simply plug it into your computer through a USB port. There’s no need to install software, upgrade sound cards, or fi ddle with adapters and wiring. Simply plug it in, and the speaker system is ready to use, bringing thrilling, detailed sound to your music, games and movies, right on your desktop. With an additional audio output, you can connect it to your iPod, and there’s also a headphone jack for private listening.

Despite their extremely compact dimensions the ZED60-10FX and ZED60-14FX are packed with features and fl exibility. Their input complements are 4 mono/3 stereo and 8 mono/3 stereo respectively with two of the mono channels offering high impedance jack inputs that can take a normal line level or a low level input from a guitar pickup, so guitars can be plugged straight into the mixer without the need for DI boxes. These inputs have been crafted to recreate the

sound of a classic tube preamp in a combo or head amp for incredible defi nition and warmth. One of the stereo inputs can accommodate MP3/CD players or keyboards via RCA inputs.

For more information on the Peavey range of products, phone Audio Products Group on (02) 9669 3477 or visit www.audioproducts.com.au

Revered by blues, country and rock players alike, these true all-tube amps span the tonal landscape from vintage to contemporary with ease. These amps are drenched in the tone that can only come from the combination of three 12AX7 and four EL84 tubes. Add features like 3-band EQ, footswitchable dual channels, active presence control and reverb and you have one of the most versatile amplifi ers on the market.

Simply buy any set of EXP strings from an Australian retailer between

Oct 1st and Dec 31st 2012 and send us the packet (along with a copy of the receipt and your contact details), and you’ll go into the draw to win the following:

D’Addario Coated Acoustic Strings x 5

D’Addario Coated Electric Strings x 5

Planet Waves Headstand

Planet Waves Pro Winder

Planet Waves Restore Polish

Planet Waves Protect Wax

Planet Waves Shine Spray

Planet Waves Untreated Polish Cloth

Planet Waves Black Planet Lock Strap

Planet Waves Mini Headstock Tuner

Alvarez Masterworks MF-75 Folk Guitar

SKB Acoustic Guitar Hard Case

D’Addario Coated Acoustic Strings x 10

D’Addario Coated Electric Strings x 10

Planet Waves Headstand

Planet Waves Pro Winder

Planet Waves Restore Polish

Planet Waves Protect Wax

Planet Waves Shine Spray

Planet Waves Untreated Polish Cloth

Planet Waves Black Planet Lock Strap

Planet Waves Mini Headstock Tuner

Proudly distributed by D’Addario [email protected] Send Packs/Receipt to: PO Box 141, Kilsyth Vic 3137

Follow us on D’Addario Australia @DaddarioAus

EXPerience the difference!

MONTHLY PRIZE! GRAND PRIZE!

WIN! with D’AddarioEXP Strings...

$375.00

RRP VALUE

D’A

D’A

Pla

Pla

Pla

Pla

Pla

Pla

Pla

Pla

$1700.00

RRP VALUE

OVER

OCTNOV

DEC

For full terms and conditions please refer to the D’Addario Australia’s Facebook PageNSW Lic #LTPS-12-08082 ACT Lic #TP 12/03831


�

For more information, contact D’addario Australia on (03) 8761 6293 or email [email protected]

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

D’ADDARIO GROW BIGGER

MARK DRUM UPGRADES

As we previously reported in 2011, D’Addario & Company Inc, had setup their own distribution facility in Australia. Less than one year later, D’Addario Australia reported on their relocation to a new distribution facility 2.5 times the size of its initial premises. That relocation was in preparation for their newly acquired lines at that time; Ashdown Bass Amplifi cation, Hayden Guitar Amplifi cation, Spector Bass Guitars, Ultimate Support, Jam Stands, Alvarez Acoustic Guitars and Skb Cases.

D’Addario Australia has now secured exclusive distribution rights for Drum Workshop (DW Drums), Pacifi c Drums & Percussion (PDP), Schecter Guitar Research & Bose’s range of musician-based products.

Mark Drum has released new fi rmware, additional drum kits and enhanced features for the YES kit. Firmware upgrade 1.8 adds several new features, including Xplosion FX feature – a compression based effect which provides new dynamics response options ranging from ‘natural’ to the more ‘explosive’ dynamics, Pad Upgrades, the

number of user kits has been extended from four to 16, recordable loops increased to eight and more.

SAMSON XP150 PORTABLE PA

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

The Expedition XP150 offers a PA solution that combines powerful stereo sound with portability and simplicity. With its clever design, the XP150

packs up into a single unit that weighs only 24 pounds. Perfect for schools, conferences and presentations, as well as musicians and singer-songwriters, the XP150 is the ultimate in portable sound. A removable 5-channel mixer powers the XP150 with a 150-watt (2 x 75) Class D amplifi er. The mixer features three Mic/Line channels with XLR and 1/4-inch inputs, allowing you to connect microphones or line signals. It also includes one stereo 1/4-inch and 3.5mm input channel for connecting external devices like MP3 players, keyboards and more. There’s also a built-in digital effects processor to add Digital Reverb to your voice or instrument. Each channel features 2-band (bass and treble) controls.

For more information on Damien Gerard Soundstudios, phone (02) 9331 0666 or visit www.damiengerard.net

For more information visit www.gallinsmps.com.au

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

DAMIEN GERARD STUDIOS

FREE UPGRADE FOR TC HELICON VOICELIVE PLAY AND PLAY GTX

Located in Sydney, artists are taking advantage of the new summer deals and special rates at Damien Gerard Studio. The new in house kit has done a few sessions and all reports have come back as good as we were hoping. Andrew Beck has updated his Analogue Arsenal in the Red Stairs Room and The Main Studio is soon to see an upgrade to PT10.

TC Helicon have announced the “More Play – Direct Effects Control & Preset Mega-Pack”, a free fi rmware update to VoiceLive Play and Play GTX offering more presets, more looping time and more control. A whopping 500 new presets awaits in our biggest preset pack ever. Covering all styles and genres, it should be enough to keep any singer happy for a long, long time. Discover your sound via the songs you like, or go on a random walk of presets for inspiration. Everyone likes to loop, so they’ve expanded the original 15 seconds of looping to a full 60 seconds, still with infi nite overdubs, of course.

AMI AND GALLINS BUY ALLANS BILLY HYDE

There’s fi nally some good news for Allans Billy Hyde Music Stores: they’ve been thrown a lifeline, thanks to Australian Musical Imports and Gallin’s Musican’s Pro Shop. Gallin’s opened their fi rst store in Chapel St, Prahran VIC back in 1989. Owner Con Gallin’s fi rst part

time job was at Allans Music, and he says he couldn’t let Allans’ 160 year history disappear forever. His purchase means the bulk of Allans Billy Hyde assets including Allans Music, Allans Billy Hyde, Australian Music Group, Musiclink and Intermusic will remain, despite being placed in involuntary administration back in August. Flagship stores in Queensland, New South Wales, South Australia and Victoria will continue to trade, and the majority of staff working at these stores will keep their jobs. The liquidation sale at Allans Billy Hyde stores will continue right through to Christmas.


The 2012 RØDE International Band Competition took the world by storm and Indonesia’s Navicula brought their raw rock taking out the crown. As part of winning this amazing prize back the band will bring their rock’n’roll sound and inspiring environmental message to Sydney University’s Manning Bar for one blistering night. Presented by RØDE Microphones in conjunction with Sydney Festival.The high energy show will also featuring the world premiere of the Navicula Rockumentary by Portuguese fi lmmaker Nuno Barbosa, winner of the 2012 RØDE Rockumentary competition.

for more information: (02) 4388 4152 [email protected]

Named after company founder and chief engineer, George ‘Jiri’ Krampera - KV2 Audio are pleased to announce the new... JK Series of DI Boxes and Audio Tools

JK SERIES DI BOXES & AUDIO TOOLSTHE ULTIMATE DI TECHNOLOGY HIGHER HEADROOM & LOWER OUTPUT IMPEDANCE THAN ANY OTHER DI ON THE MARKET

The JK Series deliver crystal clear, distortion-free audio from the hottest sources - without a hint of distortion over greater distance. KV2 has optimized the use of phantom power with a switching power supply on the JK Series to enable a huge 20 volts of peak power on the internal rails. This allows the JK Series to deliver 50 Ohms on the XLR output giving true line

driver capability, delivering greater audio integrity and the ability to send high-quality signal four times the distance of it’s nearest competitor.

The JK Series are hand-built in the Czech Republic, utilizing the highest-quality components and transformers. Full transformer balancing ensures the highest possible signal integrity without interference from RF or ground loops. The heavy-duty steel enclosure provides maximum protection for the electronics and further shielding against external interference. KV2 stands by the build-quality of these units with a full 5-year warranty.

Crystal clear, distortion-free audio

Hand-built in Czech Republic

Full transformer balancing

Phantom power optimized

True line-driver capability

Heavy-duty steel enclosures

5-Year Warranty

________________________________________________________________________________________________

JK2STEREO DI BOX

JKASINGLE CHANNEL ACOUSTIC DI BOX with RESONANCE NOTCH FILTER

JKP JKTSINGLE CHANNEL PASSIVE DI BOX and LINE SPLITTER

TONE GENERATORJK1SINGLE CHANNEL DI BOX

For more information on the PreSonus range of products, phone National Audio Systems on 1800 441 440 or visit www.nationalaudio.com.au

For more information on the Mayones range of products, contact Ubersonic on (03) 9580 1050 or visit www.ubersonic.com.au

For more information on the Mayones range of products, contact Ubersonic on (03) 9580 1050 or visit www.ubersonic.com.au

PRESONUS UNIVERSAL CONTROL 1.7

MAYONES SETIUS ASH GUITAR

MAYONES SETIUS GOTHIC GUITAR

Rational Acoustics’ highly regarded Smaart Measurement Technology is now available in PreSonus’s Virtual StudioLive remote-control/editor/librarian software for StudioLive mixers. Working with Rational Acoustics, PreSonus has streamlined Smaart’s powerful Response and Locator modules to make it easy to view your P.A. system’s frequency response. Now you have all the information necessary to adjust your sound system using the parametric EQs that are available on the Fat Channel in StudioLive-series mixers. Additionally, Smaart’s Spectra’s

RTA and Spectrograph can be viewed on top of each output’s graphic EQ so you can analyse your mix or quickly ring out your fl oor monitors. Although much simpler and easier to use than the full version of Smaart, VSL’s Smaart implementation is very much the real thing, built with the same technology that is trusted by acousticians and live-sound engineers the world over. When you click on the Graphic Equalizer tab in Universal Control 1.6 and later, Smaart Spectra’s Spectrograph and real-time analyzer algorithms go to work, showing you the spectral content of whatever is routed though a particular graphic EQ. The Smaart Spectra Spectrograph shows level versus frequency versus

time. It graphs a continuous series of Spectrum measurements with frequency on one axis, time on another, and level indicated by colors. The display lets your view fi ve seconds of spectral information so you can view long term trends in your mix, like feedback building up in an aux mix.

WINNERS OF THE 2012 RØDE ROCKS

For more information on the range of RØDE products visit www.rodemic.com

The release of a special Ash top version of the Setius Series guitar line from boutique Polish instrument manufacturer, Mayones Guitars and Basses, marks another milestone in the company’s progress towards worldwide recognition. All Mayones instruments are handmade to customer order and the incredible construction quality of

The new Mayones Setius Gothic 6 guitar fi nished in Monolithic White shows the versatility of the proprietary Mayones Gothic fi nish process. Highlighting the natural grain of the top wood while retaining a “dark” aesthetic, the Gothic fi nish is hugely popular among metal musicians and fans alike. Building on the popularity of the Setius Gothic Series guitars across many metal genres, this unique version sports a distinctive new style fi nish.

these guitars ensures the very best performance over their lifetime, often improving with age.


NAVICULAWinners of the 2012 RØDE ROCKS! International Band Competition,

Indonesia’s Navicula bring their raw rock sound and inspiring environmental

message to Sydney University’s Manning Bar for one blistering night.

Featuring the world premiere of the Navicula RØDE Rockumentary

��

Buy tickets now:

rockro.de/sydfest

EXCLUSIVE AUSTRALIAN SHOW

JANUARY 10TH, MANNING BAR


Zildjian are always at the forefront of quality when it comes to Cymbals, and with a huge range of Limited Edition Cymbal Box sets they are defi nitely leader of the pack in value for money. All sets come with a free crash symbol. Check out www.austmusic.com.au/Zildjian for the full range of limited edition box sets.

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

For more information on the Zildjian range of products, contact Australasian Music Supplies on (03) 9549 1500 or visit www.austmusic.com.au

ZOOM MS-100BT BLUETOOTH PEDAL

The Zoom MS-100BT is a stompbox-style multi-effects guitar pedal that is preloaded with 92 effects and 8 amp models plus a tuner and allows you to freely combine and use up to six effects and amp models at the same time. Using the StompShare app on iPhone, iPad or iPod touch, you can purchase and add more effects as you like over Bluetooth. If you suddenly need a new effect in the middle of a band practice or recording session, you can purchase and install the effect you want using the StompShare iOS app in around 15 seconds.

ZILDJIAN 2012 LIMITED EDITION CYMBAL BOX SETS

KV2 AUDIO JK SERIES DI BOXES & AUDIO TOOLS

For more information on Collarts, call (03) 9281 8898 or visit collarts.edu.au

For more information on the KV2 Audio range of products, phone (02) 4388 4152 or visit www.kv2audio.com.au

COLLARTS MUSIC COLLEGE

Collarts (The Australian College of the Arts) prepares students for career in the contemporary music and entertainment industry. Collarts provides high-quality, professional training for musicians, audio production specialists and industry music business leaders. Students can enrol in diploma or degree courses in Contemporary Music Performance, Audio Production or Music Business. Regardless of which course you take, you can be assured you’ll receive the best training available and be ‘industry ready’ upon graduation. Led by Dean Dr Raffaele Marcellino an award-winning Australian composer and music educator, all Collarts staff have extensive and continuing industry experience and involvement, as well as experience as educators and trainers.

For more information, contact Jands on (02) 9582 0909 or visit www.jands.com.au

DBX PMC16 & TR1616

From the inventors of compression, dbx and backed by their technology focused parent company Harman Pro, are proud to introduce two new products to the entertainment technology market: The PMC16 Personal Monitor Controller and the TR1616, 16-input/16-output stage box. Providing a quality, easy to use 16 channel personal monitor controller, the dbx PMC16 allow users to select up to 16 audio channels to create a personal mix to suit their onstage or recording tastes.

TC’S HOLIDAY GIVEAWAY

TC Helicon and TC Electronic have joined forces and created three amazing offers for singers, guitarists and bass players to get you into the pre Christmas spirit! Australian Distributor Amber Technology is excited to announce that purchasing selected TC Helicon products will let you claim a free MP-75 Vocal Performance Microphone. If you purchase selected TC TonePrint guitar products you’re awarded with a free Spark Booster pedal and if you purchase selected TC Bass products you can walk away with a free Corona Chorus pedal. All products must be purchased from a local participating authorised TC reseller to qualify and the promotion period runs between November 1st and December 31st, 2012.

For a list of participating authorised resellers more and full terms and conditions for this promotion visit www.tc-electronic.com/holiday-rebate.

For any further information please contact the Jands Customer Support Team on (02) 9582 0909 or [email protected]

JANDS RESIGN AS STANTON DISTRIBUTOR Jands have announced their resignation as Australian distributors for Stanton. After a 12 year association which at its peak saw Australia as the largest Stanton market outside the US, Jands approached this decision with some sadness. Jands will continue supplying Stanton product from other existing inventory and will continue servicing the product until the new distributor is appointed. Further, Jands will honour published and statutory warranty requirements for Stanton products sold by the company.

The JK Series deliver crystal clear, distortion-free audio from the hottest sources - without a hint of distortion over greater distance. KV2 has optimised the use of phantom power with a switching power supply on the JK Series to enable a huge 20 volts of peak power on the internal rails. This allows the JK Series to deliver 50 Ohms on the XLR output giving true line driver

capability, delivering greater audio integrity and the ability to send high-quality signal four times the distance of the nearest competitor.

For more information on the Mano range of products, contact Australasian Music Supplies on (03) 9549 1500 or visit www.austmusic.com.au

MANO PERCUSSION

Did you know that the cajon is the most widely used Afro-Peruvian musical instrument since the late 18th century? It was most likely developed in coastal Peru during the early 19th century using shipping crates. Today it is an integral part of Peruvian & Cuban music. The cajon is just one of the many quality percussion instruments crafted by Mano.

It’s Blackstar’s 5th birthday and we’re celebrating.

With the launch of a special, limited edition HT-5 2x10 combo. Based on the award winning HT-5R, the HT-5TH has the same patented features but with a

unique cosmetic – cream covering, anniversary weave fret cloth and limited edition front panel. Each unit will also come with a unique certificate.

The production run is limited to just 2,500 pieces worldwide with only 150 units set to come to Australia – don’t miss out!

years ago, a star was born...

��

Freecall 1800 441 440


So what’s Delson’s current guitar of choice? It’s a bit complicated. “I started out playing mostly Paul Reed Smith guitars,” Delson says. “That was like my dream guitar when I was fi rst signed to our publishing deal. I got some money, went to Guitar Center, bought the Paul Reed Smith guitar and that was, to me, the moment. I was so excited. Those guitars are just so great, and they’re really the ones that are most closely associated with my guitar tones on those fi rst two albums. And I would say that on Minutes To Midnight and A Thousand Suns we went with more vintage Strats and Gibsons, and instruments you’d fi nd in a pawn shop. In many ways this record has been like a combination of everything we’ve done. We had all those tools at our disposal in the studio, so I would often start out with a vintage American guitar and if I didn’t get the right sound I would almost always wind up playing my PRS Custom 24, because it’s just so reliable. I just know I’m always gonna love how that sounds.”

As for pedals, Delson’s a fan of mixing and matching, and he has a heck of a collection. “We used everything in the studio, from weird pedals that my engineer or I have collected to even using a lot of digital plugins to alter sounds in unexpected ways. I’m pretty sure there’s no rule book when we’re in the studio, so we’ll sometimes try things that just seem like they would be the worst idea, and that’s the thing that you hear and go ‘What is that? I haven’t heard that before!’ There’s a lot of experimentation, and that’s why we spend a year working on an album. If there’s a part we know we need for a song we’ll try for weeks until we have the part that everyone says ‘Yeah, I love it!’ Even if you’ve got a great sound on a weird pedal but it’s too distorted and it’s taking up too much space you can put some EQ or compression on it to make it play nicely with the other elements in the song.”

Recently the band introduced a killer merch item that’s utterly unprecedented: a limited edition

Transformers set made in collaboration with Hasbro, featuring Linkin Park branding. Based on the 1984 originals, there will be 2000 sets manufactured, featuring Soundwave, Lazerbeak, Buzzsaw, and Ravage. “Joe Hahn [Linkin Park’s DJ] is our resident Transformer connoisseur,” Delson says. “I’ve defi nitely put in a request for at least one of them. I think I deserve to get at least one of those, don’t you think! I know they’re in very high demand. Those collectibles, especially

for people who have a love for avant garde toys and collectibles, it’s just such a creative world. Joe has such a huge collection of toys and art objects. He went to an exhibition in Berlin last month of someone’s private collection of street culture toys and artist collaboration collectibles. Joe was totally inspired and demoralised at the same time. Whatever Joe had amassed over the last decade, this guy had taken it to such an extreme

degree that it was staggering.”

BY PETER HODGSON

Linkin Park’s 2010 album A Thousand Suns divided fans. Some felt it was a step too far away from the rhythmic, anthemic, alternative-tinged hybrid of hard rock, nu metal and rap that helped them make their name. That didn’t stop it from debuting at number one on various charts and ultimately selling almost a million copies, but it still meant the band had to step up to reclaim a few skeptical fans when it came time for the follow-up. And they did: Living Things debuted at number one on the Billboard charts and sold almost a quarter of a million copies in its fi rst week. It seems the shorter-than-usual break between albums and the return to certain old-school Linkin Park elements paid off.

LINKIN PARKR E T U R N O F T H E J E D I ’ S

Living Things is out now through Warner. Linkin Park will be touring as part of the 2013 Soundwave Festival, as well as two sidewaves with Stone Sour.

TOUR DATES:Feb ru ary 23 – Soundwave, Bris bane QLDFeb ru ary 24 – Soundwave, Syd ney NSWFebruary 26 – Entertainment Centre, Sydney NSWFebruary 27 – Rod Laver Arena, Melbourne VICMarch 1 – Soundwave, Mel bourne VICMarch 2 – Soundwave, Ade laide SAMarch 4 – Soundwave, Perth WA

“We make the songs in such a postmodern way

that when it’s time to prepare for our tours we

literally have to learn how to perform the songs for

the fi rst time.”

“I think for us we have a habit of releasing albums every three or four years,” guitarist Brad Delson explains. “In Linkin Park time, this is like lightspeed!” The band started writing and recording in between tour legs for A Thousand Suns. By the time they’d fi nished that album cycle, they already had a huge stash of ideas to work on, so for the last year up until just a couple of months ago they were nutting out Living Things. It’s an album which doesn’t really revisit the band’s past so much as take the occasional fond glance back at it in the rearview mirror. “Yeah, that’s fair,” Delson confi rms. “It’s like putting to work the life lessons of where we’ve been, but through the present point of view. I think sonically or maybe in terms of song approach this album is very different from A Thousand Suns, and part of that was the inspiration of doing something in contrast to what we’d just done. That’s what makes the studio so fun. There are no rules.”

Once again Delson’s guitar is up front on Living Things, including a few moments that border on thrash. There’s no real pattern to how Linkin Park songs get written or at which point the guitar role takes shape for any given track. It’s a very fl uid process. “Sometimes songs will start with words, which is rare but possible. Sometimes it starts with a melody and piano, or a melody and guitar. Sometimes it starts with a beat and we’ll layer melody over it. One thing that Rick [Rubin, producer] would encourage us to do is to put vocals on it right away. That helps us to know if the content is good. Is this song in its barebones

form a good song? Whereas our method of working on our fi rst two albums was almost entirely music-focused fi rst, and then the vocals would go last. People say ‘is there a message in the album?’ and it’s like, ‘I don’t know! We don’t even know what we just said! We don’t even know what we just played!’ In fact, we make the songs in such a postmodern way that when it’s time to prepare for our tours we literally have to learn how to perform the songs for the fi rst time. In every case, no-one has a clue what we’re gonna play and how we’re gonna play it. I literally have a CD right now of parts that I’m going to play. We have the song on the left and my part on the right and I’m literally trying to fi gure out how I played it or how Mike [Shinoda, guitar/vocals] played it, and how I’m going to play it live to make it sound like it does on the record.”

One of Delson’s favourite guitar moments on the new album is ‘Victimized’. “I love it. It’s got like a thrash, punk, super-heavy edge. There’s enough of a distinction between that and something that’s more metal-infl uenced that makes that song so awesome for me. Ugh! I love that song! We’re going to play that song live too. That’s one of the ones I was just listening to, to try and fi gure out how to play it. Sometimes we’ll try things that seem like it would be the worst idea, and that’s the thing that you hear and go ‘what is that?’ There’s a lot of experimentation, and that’s one of the reasons why we spend a year working on an album. If there’s a part we know we need for a song we’ll try for weeks until we fi nd a part that works for the album.”


everybody listens to, there’s bit of the heavy side of stuff that we listen to, bits of the proggy side of stuff that we listen to, then there’s the pop element thrown in there as well. It’s just everything thrown in there into one little mix.

Particularly having brought on Wade and having a new lineup, were you worried that the fans were going to turn against you?(Laughs) I wouldn’t say worried about it, I guess we were a little anxious more than anything about it. There’s a lot of people in the UK, particularly, who feel Gallows is an English band, it should stay as an English band, but the four of us aren’t going to bring anybody into band who isn’t right for it. People need to trust the decision that the four of us made and that we know what we’re doing with this, we know who we want to front the band for us. I wasn’t really anxious about it, I guess more than anything we just wanted people to give it a chance before, you know, slagging it off and writing it off in the fi rst place. You know, a lot of people who originally said, “I don’t think this is the right move for the band to make”, as soon as they actually saw the show with Wade, every single person who said it took back what they were like “no you’re right, he is the embodiment of Gallows” because he’s the most passionate performer. He’s defi nitely brought a new life to the band, he’s been really good for Gallows.

You’re coming down to Australia for the Soundwave festival, which has a pretty massive lineup. Is there anyone you’re interested in seeing while you’re down here?Yeah, I can’t wait to see Metallica every night. As soon as I saw Metallica on the bill, I thought “I’m happy, I can go off to Australia and w atch Metallica for a week straight.” I’m really really looking forward to it. We played it once before, and I had the time of my life playing it, so I really cannot wait to come back down to Australia and spend some time just enjoying the sun and just relaxing. Like, we’re currently in Detroit and it is fucking freezing here. Next week, we’re gonna be in like Calgary and Winnipeg where it’s like minus 15 and minus 23, so I’m really looking forward to a bit of Australian summer coming up, so yeah it’s gonna be good.

BY ZAC BROWN

????

amount of overdubs, but it has an amazing drum sound, an amazing bass sound, and really noisy guitars. We just thought about the sonics of his early recordings, like Pinkerton by Weezer – regardless of what you think of the record or the band, I happen to like both, that is sonically an amazing album. It’s raw and dirty, but still great quality. Not raw and dirty in a fucked up lo-fi way. We went to Dave because that’s what we wanted to do, a record live in the room more in the spirit and the take. Immediate and noisy but also something of good quality. Dave encourages you to experiment, go off key, and to fuck with stuff. He’s the only Grammy-nominated producer I can think of that tells the band to really rip it up and screw with things. For a band like us, it was so perfect.

Dave is renowned for his collection of gear and gadgets, did you have any of that at your disposal?I’ve been a studio engineer since my early 20s and been a real gear nerd, but a lot of that stuff didn’t really fi t with The Cribs. He really likes his synths, so it was a good excuse to mess with that. He had a bunch of old DOD pedals that they made in the ‘90s, these production line pedals that are really ridiculous, not very user friendly. We’s do stuff like plug a lap steel guitar into a bunch of them and tune it way down. There were a lot of things that people would never think of, and Dave just said, “Yeah, let’s do it.” Getting really gnarly sounds at two in the morning.

Then there was the fi rst single off the record which was produced by Steve Albini.It’s by far the most direct song on the record,

and I think that’s why the label wanted it out fi rst. With Johnny leaving the band, I think it was the label’s way of appealing to our hardcore fanbase. I think Steve is probably the greatest engineer working today. We always wanted to record with him, we actually wanted to make the fi rst record with Albini. Every single record since then, Steve’s name has been on the table. But once we signed to Warner that was never going to happen. Again, it’s indicative of us losing Warner, going back to a three-piece. We actually recorded a bunch of tracks over three days, but only ‘Chi-Town’ made it onto the record. We were hoping to fi nish a record with him this year. It’s so much fun to go into a studio and record six songs over a couple of days. Steve may have a reputation for being acerbic, but he’s not. He’s just a regular punk rock guy. Maybe after we go to Australia we have a bit of time off, we might go back and record.

BY LACHLAN KANONIUK

Following the departure of iconic frontman Frank Carter, Gallows reinvented themselves by bringing on Alexisonfi re guitarist Wade MacNeil as their new lead singer, releasing the acclaimed album Gallows with their new lineup. Mixdown spoke to guitarist and brother of Frank, Steph Carter, about the pressures of line-up changes and the excitement of touring with Metallica.

UK bands, particularly those containing siblings, seem to be prone to premature break-ups. This is obviously not the case with power-trio The Cribs, going from strength to strength with each LP and retaining an ever-growing global fanbase. The band did undergo a slight restructure in late 2010 with the departure of full-time guitarist and Smiths legend Johnny Marr, a move which apparently only strengthened the band’s resolve. Fresh off the stage at a UK gig, bassist/vocalist Gary Jarman looks back on the brotherhood’s return to their roots, and recounts working with some of the modern era’s all-time great producers.

You called your new album Gallows, which I feel is always a big statement if the album isn’t your debut. Was this decision to do with your reinvention now that Wade is on board?Yeah, I think that when we were writing the record, we spent a lot of time talking about what we were gonna title it, and we fi gured this was the best thing, cause it’s the perfect snapshot of where the band is right now. We all feel really comfortable with what we’re doing and how the band’s performing, we fi gured it was the easiest way – you know, go out and call it self titled, go out with a bang and just show people that the band is still just as important to us and to everyone else as it always has been.

Was it quite diffi cult having played with Frank for so long to sort of get into the right groove with Wade or was it quite organic and natural from early on?To be honest, I called Wade and asked him if he was interested in doing the band after my brother left, and straight away he said “yes”, and then as soon as he said “yes”, he came over to England and we went into the studio straight away, and we went and recorded some songs with Joby from the Bronx like a week or two weeks later, and then that was it. We booked the tour, we kinda knew whoever would be joining the band, it would have to be like a quick decision, we’d have to just go in and we’d have to make the most of it straight away, so we didn’t leave any kinda room for it not working. We kind of all just went into it with the frame of mind that

it’s gonna work, and it’s gonna be fi ne, and with that in mind, he came in and we got with his way of writing, he got with our way of writing really quickly and everything felt really natural and it felt like it was meant to be.

The album is quite a bit shorter than Grey Britain. Was that a conscious decision to have shorter songs?Not really, when we were writing it, there were a few moments when we were playing through the tracks on the record, we were like “does this bit need to be this long?”. We kinda went into it with that frame of mind so that when we were writing the songs, we got to the point where we were like, if the song’s dragging out and was going to be long, let’s purposefully make it a long song, or if the song got to the point where it was like “maybe we could end here”, we’ll just end it and if it’s gonna be a short song, no mediocre length songs, just either short or long.

Do you listen to quite a diverse range of music then, or do you mostly listen to hardcore punk?No, I don’t listen to punk music at all. We’ve got a really, really wide variety of music tastes in this band, from black metal through to 80’s pop. Everyone at one point in time is going to be listening to something completely different on their iPods, like for me for the past week I’ve just been listening to Mogwai and Oasis, that’s it, and I know Lags isn’t really into that and I am,.The new record is really a combination of what

There has been a bit of a shake-up with The Cribs leading up to In the Belly Of The Brazen Bull with the departure of Johnny Marr. Tell us about the adjustment process.Well it started out pretty much at the start of 2010. We found out Johnny was leaving the band then. We were intent on taking a year out, or a couple of years out, because we did four records on the fl y. We thought it would be good to get away for a while. But then we found out Johnny was leaving, then me and my brother Ryan just had a really fun time going back to the way we operated when the band fi rst started. We were originally just a home recording project, and when you’re with your brothers you can just do whatever you want. You trust one another, you can indulge yourself. That’s why we ended up recorded in a bunch of different places and with a bunch of different people – there were no external infl uences at that point. We were just trying to have a good time, really.

There are reports of a scrapped recording session with producer Dave Richards. What happened there?That was the best time. The band was going through some struggles, Ryan was having some problems, but it was still one of the best times. Dave Richards, I was so obsessed with his recordings from the ‘80s and the early ‘90s. He was a genius producer, hit records for Queen,

David Bowie and Iggy Pop. But he hadn’t made a record since 1992, which was Queen’s Innuendo – which is my favourite album of all time. We just tracked him down to Switzerland and asked if he was up for recording. It was really indicative of the fact we were back to a three-piece and we could do what we wanted. On paper it doesn’t make any sense, The Cribs recording with this ‘80s producer. But there was no voice of reason, really. We just said, ‘Alright, let’s just get in the van and drive to Switzerland and try it out.’ And it was great, a really weird experience. I really liked how it turned out, but Dave couldn’t fi nish it. Dave worked in a different way that we work and it took a very long time, then he had personal situations that wouldn’t allow him to fi nish it. But it encapsulated that idealism we had, this is what being in a band with your brothers is all about.

The majority of the fi nished product was recorded with producer Dave Fridmann, who you wouldn’t really associate with The Cribs’ sound.I might see why you might see him as a left-fi eld choice, he’s associated with a more electronic, psychedelic thing. But my motivation for Dave was based on his early stuff, which were some of my favourite records growing up. He’s known for his work with The Flaming Lips and he’s a part of the whole creative process. But it’s his early stuff it’s his engineering which is really great, like Clouds Taste Metallic – there’s not a massive

GALLOWSGALLOWSV I S I O N S I N U N I S O NGALLOWSCRADLE TO THE GRAVE

THE CRIBSTHE CRIBSTHE CRIBSN O B U L L

In the Belly Of The Brazen Bull is out now through Liberator. The Cribs will be performing at Pyramid Rock Festival over New Year’s, as well as two east coast sideshows.

TOUR DATES:December 29 – January 1 – Pyramid Rock Festival, Phillip Island VICWednesday, January 2 – Oxford Art Factory, SydneyFriday, January 4 – The Zoo, Brisbane

TOUR DATES:Feb ru ary 23 – Soundwave, Bris bane QLDFeb ru ary 24 – Soundwave, Syd ney NSWMarch 1 – Soundwave, Mel bourne VICMarch 2 – Soundwave, Ade laide SAMarch 4 – Soundwave, Perth WA

“I write music that I would want to listen to.”

Guitarist Nick Wheeler relies on Avid® to help create The All-American Rejects’ multi-platinum sound. From the popular Mbox® series to the Fast Track® C600, only Avid I/O interfaces come with Pro Tools®

—the industry-standard software for music and audio production.

Check out Avid’s great-sounding I/O lineup and plug into the one that best tells your story.

I/O it to my music.I/O it to my fans.

I/O it to myself.

© 2012 Avid Technology, Inc. All rights reserved. Product features, specifications, system requirements, and availability are subject to change without notice. Avid, the Avid logo, Fast Track, Mbox, and Pro Tools are trademarks or registered trademarks of Avid Technology, Inc. in the U.S. and other countries. All other trademarks contained herein are the property of their respective owners.

Learn more at avid.com/io

“I write music that I would want to listen to.”

Guitarist Nick Wheeler relies on Avid® to help create The All-American Rejects’multi-platinum sound. From the popularMbox® series to the Fast Track® C600, only Avid I/O interfaces come with Pro Tools®

—the industry-standard software for music

Nick Wheeler (guitarist/programmer with The All-American Rejects)

Avid_I-O_NickWheeler_Ad_MixdownMag_275x385mm.indd 1 10/31/12 2:03 PM


overwhelming and scary sometimes. There are certain crowds in certain cities that go absolutely bonkers. There are crowds that act like Slayer are playing in front of them. I would not consider ourselves to be Slayer [laughs].

Your head swivels as a sort of metronome during your live show, do you ever fear injuring your neck?It’s strange, because very rarely I will be sore at a show or the next day. But the funny thing is, if I’m watching a support act or something and start to get into it and move my head, then it almost immediately hurts. For some reason I can’t do it with other bands, I can only do it with ours. We played a show in France one time and this lady came up after the show and said, “I am a doctor, what you’re doing is wrong, you’re going to hurt yourself.” That kind of made me a little scared.

Tell us abut the strong rapport with Melbourne outfi t Total Control.We had played a show in San Fransisco many years ago with Eddy Current, I believe it was their fi rst American tour. And we immediately fell in love with those guys. There just the nicest guys and an incredible band. When we came to Australia for the fi rst time we got to play some shows with them again, making friends with them, and being friends with Mikey [Young] – and that’s how we became friends with Total Control. They wanted to come tour here and we asked them to play with us. It’s amazing to see a band that good play every night. I could never get sick of seeing them play live.

You have a distinct bass sound, run us through your setup.What I do is I play with a bass amp, but I play a guitar with slightly thicker gauge strings on it. I use 11-56

gauge, and it is down-tuned, but John’s guitar is down-tuned two fl ats also. There is a secret to how I get the bass sound, but I don’t know if I want to tell you because of how easy it is. It’s like a magic trick, once you know how they saw a woman in half – once you fi nd out how simple it is it becomes embarrassing. Right now I use an Acoustic brand amp, it’s mass-manufactured for the standard chain-style stores in the states. The only reason I use that is because it’s loud enough and cheap enough and it has a really good warranty. I’m pretty much guaranteed to break an amp every time we tour, so with that warranty I can just pop into the next shop in whatever town we’re in and swap it out. I would like to play a really nice vintage tube amp or something, but if that breaks on the road we’re screwed.

BY LACHLAN KANONIUK

got to them with his solo recordings. He’s still new to it all, especially with working on a bigger scale than bedroom recordings. But he really rose to the challenge. It was a natural move to go to him.

Not to sell the seven-inches short, but there was a distinct leap of progression from the earlier releases into the album.Maybe I can only speak for myself, but I was only just becoming comfortable playing guitar and making songs, working with whatever chemistry we have. I suppose with those fi rst couple of seven-inches we were still working out and trying a couple of things. I think in many ways, nothing’s changed in the way we write. But there’s some sort of comfort and confi dence gained that comes naturally after you’ve done anything for a while. I don’t think everyone was choking the gears, so to speak, but I wasn’t fully used to the sound I could get out of an amp. With the exception of ‘Cartons And Cans’ and a few other songs we made up on the spot, we were really familiar with the songs on the album going in. Then we knew what we wanted for it to not be a complete sonic assault, we wanted those lighter bits. That fi rst seven-inch of ‘Bright Idea’/’Cameo’, I still love listening to those because personally I was still fl oating in and out of this sureness. That’s not to say I’ve rigged some sureness into my guitar. But I was happy going in to record that album, for sure.

There’s a certain appeal to the distant-yet-intimate dynamic between yourself and Brendan.Performing wise we both hold our own quarters in very different ways. I haven’t thought about it too much. Brendan is all arms and legs and fl ying around, and it’s a bit harder to do that with a guitar. At the beginning I had to concentrate with the guitar, with drumming my hands seem to go where they are supposed to. We’ve played some pretty big gigs where I did have to have that concentration straight away. Between me and Brendan I think we really create well together. We have an energetic friendship, and he animates it well on stage, whereas I do something else with it [laughs]. Maybe I’m still fi guring out what it is – just trying to get my voice heard, it’s pretty weak [laughs]. Just getting the sound guy to turn up whatever channel it is, I sing like a choir girl sometimes as opposed to shouting it out.

BY LACHLAN KANONIUK

The studio output and relentless touring schedule of Thee Oh Sees is nothing short of superhuman. Despite releasing the album Putrifi ers II this September, the band are already gearing up to hit this studio to record a follow up before the year is through. Recorded releases aside, the band have rightfully earned a reputation as one of the most invariably brilliant live acts on the planet. Speaking ahead of the band’s now-annual pilgrimage to Australia, bassist Petey Dammit rationalises the band’s uninhibited work ethic.

Emerging as a ragtag collective of established Melbourne-based musicians back in 2010, Boomgates this year consolidated their artistic growth and considerable gravitas with the release of their debut full-length, Double Natural. Fronted by the playful vocal duet of Brendan Huntley and guitarist Steph Hughes, the band have ascended to a level exceeding the sum of their parts. Ahead of what is set to be a golden boot-worthy Sunday appearance at this year’s Meredith Music Festival, Steph looks back on her transition from drummer about town to co-frontperson duties.

Double Natural is out now on Bedroom Suck.

TOUR DATES:December 7-9 – Meredith Music Festival, Meredith VICDecember 14 – Metro, Adelaide, SADecember 15 – Evelyn Rooftop, Melbourne VICJan 19 – Sugar Mountain, Forum Theatre, Melbourne, VIC

You’re renowned for your prolifi c output, do you have a set release strategy?There’s not necessarily a set plan, we tend to get ahead of ourselves. When we’re on tour all the time, there might be two weeks when we’re not on tour and we’ll write a couple of songs, then throw those into the live set. Basically, after playing them live a few times they become a lot more natural. When we come back off tour we’ll write another couple of songs, so within six or seven months we learn enough stuff for a new record. We’re always writing and always messing around. Instead of writing an album’s worth of material before the studio, we’ll have it in the bag already by the time we get there. So that makes it a lot easier.

Putrifi ers II has been out for a few months, when can we expect the next record?We have almost a whole record’s worth. The whole month of November we don’t have any tours or shows or anything, and we’re spending three to four days a week in the rehearsal space. We’re working on all these new songs to have them under our belts by the time we go record in December. We have six or seven songs that we’ve been playing live for a while, and now we’re working on another six or seven and working out what we want to do with those. By the time we go into the studio we’ll have everything done, then it will take two or three days to record everything. We do two takes, maybe three for safety, then we’ll spend another few days in the studio messing around and jamming to hopefully get more songs from that.

The album’s called Putrifi ers II. Was there a Putrifi ers I at any stage?I don’t think there is any signifi cance to the “two” part

of it, I think it’s just a joke John threw in there for a laugh really.

Do you look at other bands who follow the set record-release-tour cycle with disdain or envy at all?People do what they do, there’s no right or wrong way to do anything. Personally, I enjoy touring, travelling and seeing other countries. I feel really fortunate that we tour as much as we do. That way I do get to go to places like Australia and Europe. Right now I don’t have a job or anything when we’re not on tour, so I get really bored. It’s nice to always be on the road.

With so many songs entering the fold, how do you refi ne your setlist?There are songs that you notice getting a stronger crowd reaction, so we keep the classics in. Really we never have a setlist, we just write out the songs we can remember offhand. Then we have that one sheet of paper next to John, and he will either start playing a song or tell us what it is. Then we just follow along, really. Then on tours we get into a groove where we play the same songs. Even if we don’t have a setlist, within a week or two of the tour we kinda know what is coming up next.

What are the crowds like these days, I assume there is a mix of fi rst-timers and Thee Oh Sees veterans?It defi nitely has. Over the past few years we’ve defi nitely got more fans, which is nice. For the longest time we would be playing for 30 people – 20 of our friends and 10 people we didn’t know. But now there are upwards of 500, sometimes 1000 people at a show, and we know 10 of them. That can be a little

You’ve established yourself as a reputable drummer with a number of acts over the years, how did you fi nd yourself playing guitar with Boomgates?I always played guitar. I suppose I didn’t back myself too much with it, I was always pretty busy playing drums with people. Once you own a drum kit, you end up playing drums here, there and everywhere. I’ve always had guitars around. I found with Brendan it was pretty easy to play along and make up songs, and thought that I should amplify it eventually - to get confi dent. Which isn’t easy to do – it’s different going from the loungeroom to the stage. Your fi ngers bleed for a couple of months, but then you’re ok.

What’s your guitar setup like?I like really beautiful Music Man amps, just classic Fender Twins and stuff like that. I’ve had a Fender Squier, a pretty cheap one I’ve had since I was 16. It’s actually a really great-sounding guitar, as opposed to a lot of people I know who have spent shitloads of money on guitars. It’s really stood up. It when missing for a period in a sharehouse and ended up being played in other bands for a while, but when Boomgates started to get louder I managed to track it down. I just use a Music Man 112. I suss all that stuff out a bit, it’s just a really

beautiful clean tone. I’ve played around on a few different amps before I settled on that. The Squier is increasingly popular around Melbourne town at the moment, do you think that is due to Mikey Young’s infl uence with Eddy Current Suppression Ring?I know Mikey’s proud of the Squier, but it’s purely coincidental that I had one. I just thought in my mind that I wanted the cheapest Fender, because I knew it would stand the test of time.

There’s been a trend in recent years where 99 percent of Melbourne garage releases were produced by either Mikey Young or Jack Farley, but you went with Alex Macfarlane for Double Natural.That was a pretty natural move, because Alex has been making all these brilliant and strange solo recordings for quite a long time. He’s been recording in earnest on his own in a weird little bedroom studio. We all thought we’d give it a shot to see how he would make us sound. A lot of techniques we were comfortable with when recording the seven-inch with Mikey were used when recording with Alex. He just seamlessly fi ts in and everyone’s buddies with him. As well as that, we really liked the ideas and the sounds and how he

THEE OH SEESTHEE OH SEESTHEE OH SEESM A S T E R B L A S T E R S

BOOMGATESBOOMGATESBOOMGATESN A T U R A L B O R N T H R I L L E R S

Putrifi ers II is out now. Thee Oh Sees will be touring Australia alongside their appearance at All Tomorrow’s Parties.

January 28 – Schoolhouse Studios, Melbourne VICJanuary 31 – The Hi-Fi, Melbourne VICFebruary 1 – Lost City Festival, Adelaide SAFebruary 2 – The Bakery, Perth WAFebruary 6 – The Barwon Club, Geelong VICFebruary 11 – Transit Bar, Canberra ACTFebruary 13 – The Great Northern, Byron Bay NSWFebruary 14 – The Zoo, Brisbane QLDFebruary 15 – Elsewhere, Gold Coast QLDFebruary 16 – All Tomorrow’s Parties, Melbourne VIC

Introducing two new members of the Bose L1 family. Our new high-performance

B2 bass module delivers more bass than you’ve ever heard before from an L1,

and our new L1 Model 1S offers the portability and flexibility of the L1 family —

with a new level of performance. With the proprietary Bose 12-speaker articulated

line array, the L1 Model 1S provides 180 degrees of clear, even, room-filling

sound. And with no speaker stands and fewer connections, you’ll spend less time

setting up and more time giving your customers a party they won’t forget.

To learn more about Bose L1 systems,

visit L1.bose.com.au

or call 1800 233 050

SIMPLE SETUP. SERIOUS BASS.

BOSE® B2 BASS MODULE & L1® MODEL 1S SYSTEM

NEW

L1 Model 1S with B2 bass $2,800


of Swedish power rockers, The Hellacopters - Nicke Andersson. A veteran of a truly staggering number of bands and collaborations - the fi gure is well north of a hundred - Andersson brought a rare combination of professionalism and enthusiasm to the project. Somervell is effusive, saying, “Nicke is an awesome person to work with. He’s a real passionate guy about music, and he takes inspiration from many different types of music as well, so having him around was awesome. He has really good ideas and brings them out in a really fun way, and having him as an infl uence was great. The Datsuns are massive Hellacopters fans, so his opinions about things were really respected. He was pretty much on the same wavelength as us, anyway, so it was like having an extra head around to get an objective perspective on things. It was all good when he was around to sort out problems, tell us which takes were good, when the lead breaks were good enough. He’s awesome.”

The record in question is a classic slice of Datsuns drama, drawing on a wide spread of - let’s face it, mostly heavy - infl uences, and retaining the feel of the band’s earlier work without feeling like another trip ‘round the hamster wheel. It’s a driving (pun intended) album, full of insistent fury that never bubbles over into melodrama or self-parody. Angry yet fun, it’s a good fi t with the rest of the band’s oeuvre.”I think that our early infl uences are still pretty strong,” Somervell agrees. “They seem pretty obvious to us. There’s a heavy metal aspect to this album, that’s still there. We write so many songs when we’re recording each album, that we kind of end up picking the best songs, so we might have ten

heavy metal songs, ten kind of pop songs, and ten punk songs, that kind of thing, and we end up picking one or two from each infl uence and going with that. It might be a little bit more self-indulgent, with fourteen songs on this one, and on our others there’s only ten or eleven. It defi nitely hints at stuff from our earlier days, I guess, but it also takes things in a new direction as well.” As for the immediate future, Somervell says it’s too soon to try and guess what lies beyond the next several months of road dates. “Well, we’re gonna do an Australian tour in December,” he says. “Some New Zealand shows, and just do as much as we can to promote the album. We’ll probably go over to Europe in the new year, but yeah; once the album’s out, we’ll just be doing all we can to promote it and get back on the road.”

BY TRAVIS JOHNSON

Guitar-wise, Turner’s setup is pretty simple: he uses guitars by Patrick James Eggle, the famous British luthier who is also behind the Faith line. “He used to build for lots of people in the 70s and 80s. Now he just hand-builds acoustics. And it’s very bespoke, and he builds my guitars for me. He’s built me fi ve in total. The fi rst few had some English walnut in them that was taken from a tree that grew in the village where I was raised in England, which is pretty amazing. Beyond that I’m not really one for too many effects. It’s an acoustic instrument, and it’s a challenge to make an acoustic instrument sound like an acoustic instrument over a PA. But I feel I’ve got that one down now.”

Australian audiences can acquaint themselves with Turner’s music over the summer in anticipation of

his co-headlining tour with Dropkick Murphys and his slot on Bluesfest in Byron Bay. “We’re going to be back down under, me and my band, and we’re very excited about it!” Turner says.

BY PETER HODGSON

Ten years is a long time for any band, with many a group never even managing to crack the decade before self-immolating. What better way for The Datsuns to mark the occasion than by releasing their latest EP, Death Rattle Boogie, on the exact same date that their eponymous debut album hit the shelves all the way back in 2002. Still, it’s been a long time between drinks; their last full length release, Head Stunts, came out in 2008. It’s an unusually long gap in the band’s output; their fi rst four albums - before Head Stunts, there was The Datsuns; Outta Sight, Outta Mind; and Smoke & Mirrors - all came out two years apart. The long hiatus was not due to anything too scandalous, though; as guitarist Phil Somervell assures us from his home base in New Zealand, it’s all down to time and distance.

Frank Turner started his professional musical career as the vocalist of post-hardcore band Million Dead, who had some success in the early noughts with their albums A Song To Ruin and Harmony No Harmony. But ‘irreconcilable differences’ emerged and the band called it a day in 2005, not long after releasing their second album. Since then Turner has gone on to establish a successful career as an acoustic-based singer/songwriter, releasing four studio albums, two rarities compilations and four EPs. He even had the honour of performing at the opening ceremony of the London 2012 Olympics. He’s visited Australia before, but a new release titled Last Minutes & Lost Evenings (Epitaph) has been compiled to give audiences outside the UK a proper introduction to his music. It features fi fteen tracks - a mixture of standards and rarities - as well as a full DVD of his Wembley show with accompaniment from his folk-punk backing band, The Sleeping Souls.

TOUR DATES:Saturday, 30th March – Bluesfest, Byron BaySunday, 31st March – Panthers, NewcastleMonday, 1st April – Big Top Luna Park, SydneyTuesday, 2nd April – Festival Hall, MelbourneWednesday, 3rd April – Thebarton Theatre, Adelaide

“Well, at the moment I live in Auckland and our drummer (Ben Cole) lives in Wellington,” he tells us. “And they’re about eight hours apart if you’re driving. One other guy lives in Stockholm, Sweden, and another guy lives in London, England, so it’s been basically just a logistical thing working out when to get together, and when we can get together. But there’s been heaps of writing going on in the meantime, and it’s just been a matter of getting together to work together, work the songs out together, and record them. That’s why it’s been the best part of three years in the making.”

That distance doesn’t mean that the creative wheels haven’t been spinning, though. Embracing the possibilities of online collaboration and information technology, The Datsuns have been able to quietly build up an impressive catalogue of ideas and works-in-progress upon which to draw from. “In our setup that we’ve got now, if we want to create together, we have to do it online. We have to use the internet, because we’re literally not in the same city. All of us are still playing in other bands and working on our own projects as well, but when it comes to The Datsuns stuff, that’s how it is at the moment, although that may change in the future. I don’t know what will

happen after this record.” In practical terms, that means that The Datsuns must maintain a fl exible approach to the act of song writing. With getting together in someone’s lounge room and noodling around as a group being out of the question, the discrete building blocks of music are crafted by the individual members working alone, before being welded together to form something more cohesive.

“It’s really different on each song,” Somervell muses. “Everyone writes and reports stuff on a GarageBand program, and we can email songs to each other, and people can add to the songs if they want to, or they can just accumulate the ideas and we work out a time when we can record them. Christian (Livingstone, the band’s second guitarist), for example, he writes heaps of music, and Dolf (de Borst, their singer and bass player) writes music and lyrics for his own stuff. So Christian will send music to him, and Dolf will put lyrics to it, or work out rhythm section parts. Everyone’s different; there’s no one kind of way we use to work out songs or anything.”

This time around, the recording was aided and abetted by producer and former lead singer

“I’m a really big fan of Australia,” Turner says. “Before I came over there for the fi rst time a friend of mine who I’d toured with a lot, Chuck Ragan from Hot Water Music, had been telling me for a long time that Australia was really the promised land of touring, and it reached the point where I wanted to kind of call him on his bullshit, y’know what I mean? So the fi rst time we came over in 2010, he brought me over with him and it turns out he’s right.” So what’s it like to go to another country to try and start again, after already doing that hard work in your homeland? Turner says in a way it’s kinda cool: in London for example, when he was still fi guring out what it was he wanted to do as a solo artist, there was a lot of pressure to essentially grow up in public. “It’s nice to arrive with a fully worked out package,” he says. “You’ve already fi gured out who you are, what you want to do and what you want to say. And it’s a nice position to be in.”

In that sense, Last Minutes & Lost Evenings is really the same idea, just pressed onto CD and encoded as zeroes and ones. “It’s for the ex-UK market. The last record I did in Britain has been the most successful record I’ve ever done, so what we’ve decided to do outside the UK is get together a

kind of ‘cliff notes,’ if you like, a primer of the records that came before. Obviously if people want to go back and get all the early records they are more than welcome to do that. But if you just want to write the headlines, then this is the record for that. And it also includes a DVD of the Wembley show as well. That was crazy: 12,000 people all hanging out and drinking beer. It was an awful lot of work to

make it happen - not just playing the actual show, but it felt like the culmination of seven years of work, in a way. And it was a really amazing, special evening.”

THE DATSUNSTHE DATSUNSTHE DATSUNS R A T T L E A N D H U M

FRANK TURNERFRANK TURNERFRANK TURNERS T A R T I N G F R E S H

“IT’S A CHALLENGE TO MAKE AN ACOUSTIC INSTRUMENT SOUND LIKE AN ACOUSTIC INSTRUMENT OVER A PA. BUT I FEEL I’VE GOT THAT

ONE DOWN NOW.”

The Datsuns will tour Death Rattle Boogie (out now through Hellsquad / MGM Distribution) across Australia this month.

TOUR DATES:December 12: The Zoo, Brisbane QLDDecember 13: Spotted Cow, Toowoomba QLDDecember 14: Coolangatta Hotel, Gold Coast QLDDecember 15: Festival of the Sun, Port Macquarie NSWDecember 16: The Annandale, Sydney NSWDecember 19: Karova Lounge, Ballarat VICDecember 20, 21: The Espy, Melbourne VIC


How is the music performance course structured?The Contemporary Music Performance degree is a two year course. It combines academic studies with solo and ensemble performance activities. Fundamentally it is a practical hands on course, where students have the ability to select from a range of electives that can provide either increasing specialisation or added industry awareness.

Who are the teachers for this course and are there any guest lecturers involved?The Collarts team is led by Dr Raf Marcellino, an awarded composer and musician. The program leaders include Dr Paul Doornbusch and Gene Shill, who are noted specialists in their respective fi elds and are internationally renown. Supporting these three College leaders are a range of specialist trainers in a variety of instruments and vocal training, songwriting, composition and music production including Mark Amato, Jonathan Zion, Duncan Kinnell amongst notable others.

Any specifi c projects or productions students will have the opportunity to participate in throughout the duration of the course? Students will be involved in a series of live performance showcases, the creation of video clips and other activities that bring together performance, production and management.

Studio gear and facilities available for learning and production?The heart of the Collarts production facility lies in its DigiDesign Icon equipped studios. Abelton, ProTools and Logic DAW’s are used. The sound labs are Mac equipped and the production and back line are from leading manufacturers including Fender, Yamaha, Kawai, Soundcraft, Mackie, Ampeg, Roland, Shure, Sennheiser and Neumann.

Points of difference between other music performance course providers and Collarts?The Collarts Industry Placement unit commences during the second year of the degree program and is especially valuable to students. During this unit students get to spend real time working in the industry alongside professionals or being mentored by leading players and performers.

PZM – I use it live for the kick drum but recently have been trying it in the studio with great success.

If you could call one piece of studio gear your favourite what would it be, explain.Great question as it’s very hard to narrow it down to just one piece. I still love the sound and smell of tape so the MCI 2” JH24 Tape Machine is well up there, as are the Neve Pre’s for tracking. For mixing the Urei 1178 Compressor would be hard to do without.

Are there any instruments available to use or hire?Free use: We have a great selection of old amps – Marshall Combo, HH 100w Top (circa 1977 the jam used ‘em), Peavey mk4 bass head, Acetone Combo (forerunner of Roland Jazz Chorus), 4 x Celestion Greenback Quad Box, Quantum Bass Quad Box, Roland Cube, Baby Vox Practice amp, tonnes of pedals, in house vintage bass guitar, Washburn 80’s solid body 6 string, ARIA Japanese 70’s 335 copy hollow body, Line 6 POD, Yamaha workstation type keyboards and an upright piano.

For hire: M Audio weighted 88 key midi controller, Ludwig ‘John Bonham’ 4 piece KitVox AC30, Ampeg SVT, Fender P Bass, then most other common backline gear all available on request.

Who are your in-house engineers? Russell Pilling, Andrew Beck, Pete Holz. If you Google them years of releases will come up and you can see who might best suit your musical needs.

Any other services you offer? Yes – we specialize in being a ‘one stop shop’ for artists of all walks, we have a separate offi ce that handles cd/vinyl manufacture, label services such as radio plugging, music publishing, sync, digital distribution, career planning, tour publicity campaigns and more. Any points of difference you’d like to mention?Our analog console is worth mentioning as it’s the classic 80’s Soundcraft 2400. The same model Eurthymics recorded everything on because of the mic pre’s. We are about making ep’s and albums more than anything and our engineers can act as producers with their many years of experience.

Any special offers? Around 25% off book rates across January and February, depending on the project.

This month we caught up with Mr. Ian Harvey, the Chief Operating Offi cer of leading music and entertainment college Collarts. Providing courses in Audio Production and Creative Industries Management, we delve deeper into their acclaimed Contemporary Music Performance degree and see why this course and why Collarts is being revered nation wide.

Firstly, where is your campus located? Collarts is located at 55 Brady Street South Melbourne, right on the edge of Melbourne’s creative industries and entertainment precinct.

Why should prospective students around the country consider studying at Collarts?Firstly, we’re located in Melbourne which is fast becoming the heart of the Australian entertainment and music industry, where opportunities for exposure are boundless. Collarts prides itself on producing industry ready graduates, young musicians, producers and managers who have the skills, experience and confi dence to join the music or entertainment industries and create a career. Our students learn through a practical approach that combines the use of state-of-the-art equipment and access to teachers and trainers who have themselves maintained their industry connections.

What skills can students hope to acquire from the Contemporary Music Performance degree?There are four things that a Collarts student can expect to gain from their studies. Firstly, Collarts trains its students to be musicians and musical. A Collarts student should be able to perform in any style or genre when asked. While all students have their favourite style or genre, the secret to establishing a career in the industry is being competent, fl exible and willing to work when work is offered.

The second aspect, is their skills as a vocalist or instrumentalist. Our students are confi dent

performers on their instrument. Some will also develop skills in songwriting, composition and music production.

The third aspect is less obvious but as important as being able to play. A careers as a musician is far more complicated than just being able to play an instrument or sing. Most musicians also need to be able to run a business - the business of themselves. So along with the musicianship and the performance skills come a range of skills in time and personal management, fi nancial management and law, marketing, promotions and publicity. These are core skills no less important than being able to play well if they are to be successful.

Finally, Collarts students will benefi t from meeting a range of music industry professions during their course. This exposes them to the true depth and breadth of the industry and helps them begin to form a range of industry contacts.

What kind of positions or roles will graduates be qualifi ed to work in?Many students use their studies as a foundation to the career they dream of as performers, songwriters and producers. Developing these aspects of an individuals career will take some time following graduation. In the meantime our graduates will be working with a variety of bands or as a soloist. Some graduates will join organisations in the industry working in production or management , while others will look to develop a teaching practice or continue on with further musical studies.

Where are you located? Damien Gerard Studios is located on Mullens St, Balmain in Sydney, 5 mins away from the CBD.

How long have you been established? We’ve been in operation since 1985 recording some of Australia’s best home grown artists and International superstars. So we have about 27 years experience in honing our craft and ensuring we can capture the sound you’re after.

Who are some of the artists you have worked with? Back in the 80’s Divinyls, Mentals, Spy Vs Spy, The Church, Hoodoo Gurus, Pete Wells, Rose Tattoo, INXS, Died Pretty, pretty much everyone Sydney based of note back then at some point or another. Nowadays, we still host sessions for the likes of Hoodoo Gurus, Noiseworks, The Tatts plus a huge amount of new artists. More recently we have worked with Marvin Priest (Universal), Cam Nacson (Wunderlick), The Vines, Halfway Homebuoy (UK), Grimskunk( Canada), The Aeriel Maps, Kamahl, Frenzal Rhomb, Harmonic Generator (France) and Bity Booker. We’ve also had a stack of world renowned producers coming in with their own projects including Paul McKercher, Adrian Breakspear (UK), Simon Holmes, Gus Van Go (NYC), Jorden Ellery and David Skeet amongst notable others.

Tell us about the tracking room and space you have for artists to work in?We have a large live tracking room with a glassed in vocal booth plus two other iso spaces for guitars and bass. It was built many years ago by Legendary Studio owner and builder Phil Punch who went on to upgrade and rebuild Trafalgar studios and then Electric Avenue, so the acoustics are top notch and there’s some very sweet fi ttings such as bass traps, concave drum resonators, custom baffl es and so

on. The room has some amazing history – Phil recorded seminal Sydney bands such as Celibate Rifl es and Lime Spiders and when he moved on it was owned for a period by The Church and many of their classics were written there, we moved in from our Ultimo facility in 1999.

What digital and/or analogue gear do you have available for tracking?Mic Pre’s: API, ATI Paragon, Neve, BAE11, GAP Pre73, Avedis, Soundcraft (in console).

EQ’s: API, JLM PEQ500, AHB, ATI, Neve, Soundsraft.

Comp’s: Urei, Universal Audio, Amek, Neve, Obsidian, SSL, DBX.

Mic’s: Shure SM7 (matched pair), Coles 4038’s, Neumann, Beyer, AKG, ATM, Sennheiser, EV RE20.

Plug-ins: Wave Bundle, Bomb Factory Bundle, Autotune, Massey, Sound Replacer, Plus-TL Space Reverb, Tel Ray Delay, Cosmonaut Voice, Sans Amp, LO-FI, Joe Meek, Mooger Fooger, Ring Mod plus a stack more.

Monitoring: NS10M, Event, Auratone, Fostex, Klipsch mains.

What are your favourite microphones to work with and why? Shure SM7 – amazing all rounder, brilliant vocal mic for rock vocals. AKG CK451 – pencil condenser that I don’t believe has been bettered yet (oh’s, acoustic’s, violins). Neumann KM86 Figure 8 - no longer made, amazing hi-hats plus the fi gure 8 is great for strings and all sorts of room and ambient tasks. The EV RE20 also great on vocals (as used by Thom York) but traditionally excellent on Bass both electric and double. The new Shure Beta91A

COURSE PROFILE: COURSE PROFILE:COURSE PROFILE:C O L L A R T S - M U S I C P E R F O R M A N C E

STUDIO PROFILESTUDIO PROFILESTUDIO PROFILE: D A M I E N G E R A R D S T U D I O S

Payment options:Collarts is a FEE Help approved institution.

Intake Periods:Classes start for 2013 Trimester 1 on February 4th. Trimester 2 2013 classes start on May 21st.

Phone: (03) 9281 8888 Website: www.collarts.edu.au

Phone: (02) 9331 0666 Website: www.damiengerard.netE-mail: [email protected]


Buy any two and get Spark Booster for free*

Buy any and get Corona Chorus for free*

StStStSteveveveve e e e MoMoMoMorsrsrsrse e e e – – – – DeDeDeDeepepepepepepeppppepe P P P P PPP PPururururururururururu plplplplplplplplpplplpllpleeeeeeeeeeeeee

Troy Sanders - Mastodon

Visit: tcelectronic.com/holiday-rebate

Here’s how it works:Purchase any two compact pedals of your choice between November 1st and December 31st, 2012, print out and mail in the rebate form, and you will receive a FREE Spark Booster pedal by mail.Visit www.tcelectronic.com/holiday-rebate for complete details and rebate forms.

Here’s how it works:Purchase a BG250 bass com-bo, BH250, BH500, RH450, RH750 or Blacksmith bass amp between November 1st and December 31st, 2012, print out and mail in the rebate form, and you will re-ceive a FREE Corona Chorus pedal by mail.Visit www.tcelectronic.com/holiday-rebate for complete details and rebate forms.


WHAT’S THAT SOUND?WHAT’S THAT SOUND?

The guitar most identifi ed with Young is Ol’ Black, a repainted 1953 Gibson Les Paul Goldtop with a Bisgby vibrato unit. Ol’ Black has a P-90 single coil pickup in the neck position and a Firebird mini hum bucker at the bridge. The Firebird pickup looks like the mini ‘buckers used on models such as the Les Paul Deluxe apart from its solid cover (whereas the Deluxe’s covers feature adjustable pole pieces). Internally it’s very different to the mini: whereas the mini is built like a regular PAF-style hum bucker but with a narrower bar magnet plead between the two coils and coming into contact with the pole pieces, the Firebird pickup has two Alnico bar magnets, each positioned within the coils in a dual blade type design. This aids in the Firebird pickup’s bright treble response, and it helps Young to achieve feedback. It’s also slightly microphonic, which means you get more pick attack and more string noise. All together it adds up to a very lively-sounding pickup. The Bigsby on Ol’ Black also has an impact on the tone: it contributes a slightly hollow, honky overtone to most guitars.

These days it’s common - nay, standard - for guitarists to use hi-tech switching systems to go from one channel to another, or to fl ip to a patch with slightly more of this frequency and less of that one. In 1978 Neil Young started using a device

called the Whizzer, originally made by his amp tech Sal Trentino and later by Rick Davis. A 1992 Guitar Player article explains that the Whizzer sits on top of the amp and physically turns the control knobs of his 1959 Tweed Fender Deluxe, and the Davis version had four presets to control the three knobs on the top of the amp. The amp has a tone control and two volumes, and Young discovered that with the tone and main volume on 12 and the second volume on 9.9, something magical happens, which you can hear on ‘Cortez The Killer’. Anything past 9.9 and the sound goes away. “The volume on the channel you’re not using will affect the volume of the channel you are using, even when you’re not plugged into it, because of the drain on the power amp,” Young explained. “Having the ability to bring up the channel I’m not even using---so the overload thing comes on---or to change the treble here and there---those are the things I couldn’t have done without this technology.”

The Guitar Player article says a red box on the fl oor controls the Whizzer via four preset switches, with an additional one to toggle the reverb on and off. The box also has seven buttons to activate various effects devices hidden inside it, including an MXR analog delay, a Mutron octave divider, a Boss fl anger, an Alesis Microverb and an Echoplex delay unit.

WHAT’S THAT SOUND?NEIL YOUNG

Neil Young has an immediately identifi able guitar style, especially when he plays electric guitar. Not many guitarists could get away with the one-note solo on ‘Cinnamon Girl’ from 1969’s Everybody Knows This Is Nowhere, for instance. And Young has been widely credited with inventing grunge, or at the very least laying the groundwork for it. That song was written in ‘Double Drop D,’ which entails tuning both of the E strings down to D while keeping everything else in standard tuning.

WHAT’S THAT SOUNDWHAT’S THAT SOUNDWHAT’S THAT SOUNDP O N D E R I N G P R E S E TS

I was having a discussion just last week about the validity of preset sounds that come built into most modern synthesizers. The argument that was put forward was that using sounds that come as factory presets within a keyboard was the safe way to get a very commercial sounding track, but if you really want to push the boundaries, you need to start with a blank canvas and build your sounds from scratch. This seemed to be agreed as being the only way to do it, but that doesn’t mean preset sounds are no good, they just seem to get overused and don’t really give your track any originality.

This all came about really when we were tinkering with the new analogue synthesizer from Arturia, the MiniBrute. Some of you may have seen this unit and a few of you may even be lucky enough to own one. They have come in very short supply since their release with only 80 units landing in Australia so far and many of us keen for a second shipment to land. If only Arturia could build them fast enough to meet worldwide demand we would be laughing, but at the extremely low price they are coming in at for an all analogue synth, the demand is going to be hard to meet.Where the MiniBrute stands apart from most other modern keyboards is, that it doesn’t come with a memory system or any preset sounds. Once you turn it on, it does whatever the controls tell it to do. So, with every knob and fader set to the minimum value out of the box, and the gate source set to an auxiliary input, you will get nothing out of it by pressing a key. You need to start from scratch and build each and every sound yourself. This may worry some people, as many of us have become so used to getting a wealth of sounds from our keyboards at the press of a button. That was the easy way. The MiniBrute takes us back to the old way of doing things. The manual way. The good way.What you get from building your sounds from scratch is a truly unique tone every time you use this synth. It is possible to get similar sounds to other users, but you will fi nd that with all the controls available, there will always be some very slight differences and so, some very unique timbres in you music. The exciting part of working like this is fi nding new sounds that don’t really seem very conventional. Building the sound within your

Young often uses various vintage Fender Tweed Deluxe amps in conjunction with a Magnatone 280, a late-50s amp similar to models used by Lonnie Mack and Buddy Holly. The external speaker jack from the Deluxe sends the sound through a volume pot and into the input of the Magnatone, kind of a unique way of using the Deluxe as a preamp.

For acoustics, Young tends to favour Martins, including his main D-45, a D-28 previously owned by Hank Williams, and a D-18 which he used throughout his coffeehouse days in Canada and on early Buffalo Springfi eld albums before Stephen Stills bought him the D-45. Young has also been known to use a Taylor 855 12-string.

BY PETER HODGSON

mix allows you to fi nd tones that, whilst heard on their own may sound terrible, somehow fi t with the existing audio pallet that your track is offering. This gets us into the realm of real experimentation in sound design and stops us from falling in to the trap of just reaching for the same old preset patches, inevitably ending up with tracks that all sound the same. Building your own tones is going to give your music a standout sound and a real point of difference. It will, without doubt, end

Neil Young and Crazy Horse tour Australia in March 2013.

March 2 - Perth Arena, WAMarch 5 - Adelaide Entertainment Centre, SAMarch 7 - Brisbane Entertainment Centre, QLDMarch 9 - A Day On The Green, Bimbadgen Winery, Hunter Valley, NSWMarch 10 - Sydney Entertainment Centre, NSWMarch 15 - Rod Laver Arena, Melbourne, VICMarch 16 - The Hill Winery, Geelong, VIC

New album Psychedelic Pill out now through Warner

up having your listeners asking, “What’s that sound?”

BY ROB GEE

For more information on the Arturia range of products contact CMI Music & Audio on (03) 9315 2244 or visit www.cmi.com.au


Proudly distributed by D’Addario [email protected]

Follow us on D’Addario Australia @DaddarioAus

THE ALL NEWG14

evansdrumheads.com

14 mils of the world’s best single-ply film combined with Evans’exclusive Roll-Over Hoop design and custom adhesives to deliver

a ridiculous amount of durability, tonal versatility and volume. Go ahead. Hit it.

HURRY!

Limited Stock on

1st Shipment

ridiculousversatility.


ON THE DOWNLOW

There’s something I’ve always loved about the art of a cleverly-crafted bass intro. If a guitar performs an unaccompanied intro to a song, the effect of the bass when it eventually comes in is to add weight and muscle underneath the established riff. But when a bass kicks off a song all on its lonesome, anything you add afterwards is going to augment it or build upon it, and the bass seems to carry the momentum of the song for its duration. Here are a few great intros, and what you can learn from them. Feel free to share your own with us on Facebook.

LIVING COLOUR - ‘WALL’Doug Wimbish’s intro to this cut from the album the Stain album uses a few effects: delay and a DigiTech Whammy pedal. Wimbish uses the Whammy to emphasise certain notes by jamming them up by two whole octaves, while the delay carries on the basic pulse of the riff underneath. Then at the end of the intro, before the band comes in, he smoothly increases pressure on the Whammy pedal, shifting the whole riff up in pitch across the duration of the fi nal bar before dropping back down to the original register once the guitar and drums kick in.

TOOL - ‘SOBER’Okay, so there’s a bit of guitar feedback happening over the top, but the intro to Sober is still very much bass-driven. Paul D’Amour attacks his bass with a pick, performing muted,

percussive chunky ‘chk-chk’ in between strums. This riff consists of power chords and distortion, making it relatively guitaristic. It’s an interesting choice because Adam Jones’ guitar tone is dry and almost bass-like, so it’s almost like they’ve switched roles to a certain extent.

LED ZEPPELIN - ‘DAZED AND CONFUSED’There’s something utterly creepy about this song, and a big part of that is due to this huge, doomy, descending bassline by John Paul Jones. Roll back the tone knob, play with your fi ngers right up close to the neck, and hang behind the beat a little bit to get a similar vibe. Interestingly, during the solo section Jones plays ahead of the beat instead. As commanding as Jimmy Page’s guitar is, Jones is essentially playing ‘lead bass’ on this song.

BLACK SABBATH - ‘N.I.B’The blueprint for this one is simple: give Geezer Butler a bass and a wah wah pedal and just let him go. Geezer dwells mostly within the minor pentatonic scale and he throws in a few well-placed bends which are emphasised by the wah, before fi nally launching into an unaccompanied version of the song’s main riff. There are a few different approaches you can take to wah: one is to tap your foot rhythmically on each beat of the bar, and that’s a real good way to create a funky, charging vibe. Another method is the one Geezer employs here: to use the wah to shape

ON THE DOWNLOWON THE DOWNLOWBASS INTROS

Normally I’d include some kind of tablature example in this column, but I’ve just had a huge computer explosion so I can’t access my tab program right now. But as Homer Simpson says, the Chinese use the same word for both ‘crisis’ and ‘opportunity’: ‘crisatunity!’ So instead of giving your fi ngers a workout, this month let’s look at something that will get your creativity fl owing: the art of the bass intro.

the envelope of the note, drawing out the bends by sweeping the pedal. A third way is the Frank Zappa method of using the pedal to zero in on a particularly resonant frequency like a tone fi lter, and maybe moving the pedal slightly here and there to either sharpen up the focus on particular notes and phrases, or to blend them into the background a little more. There’s also the ‘leave the wah completely stationary’ method, which can give you a great high-end clatter at the pedal’s highest reaches, or a honky, gronky sound at other settings.

ALICE IN CHAINS - ‘ROTTEN APPLE’This track is the opening song on Alice In Chains’ EP Sap, and it serves as an intro for Mike Inez, who joined the band following the departure of Mike Starr. Inez plays this opening riff with a pick

and a very direct, up-front tone, and he continues to carry the whole song. It’s also a deceptively diffi cult riff to play, because it incorporates chords, hammer-ons and open strings, so you have to continually adjust your sense of timing to account for the different note attack times of each technique. Inez also wrote the iconic intro to Ozzy Osbourne’s No More Tears, which is a particularly clever intro because it starts on the ‘four-and’ of a one-bar count-in. Since there’s no other instrumentation to put the riff in musical context until the rest of the band kicks in, the ear hears the two notes of the count-in as the fi rst notes of the actual riff, creating a jarring effect when the band comes in at the real ‘one.’

BY PETER HODGSON

These days there seems to be an infi nite amount of gear available to the working drummer and every brand has it’s fl agship models and superior product lines. When you walk into a drum shop, it’s like being a kid in a candy store - or at least that’s what it’s still like for me. So many things to see and all the brand new shiny gear to dream about taking home. So the formula seems to go like this:

BANGIN’ THE TUBSBANGIN’ THE TUBSBANGIN’ THE TUBSO P E N WA LLE TS O R O P E N E A RS ?

Start basic and work your way to spending lots of cash to get the best and baddest kit on the market and you’ll sound awesome and be awesome.

Now, as I usually do with these types of articles, there’s a real catch and some fundamental fl aws in this formula. Fot instance, having the most expensive kit doesn’t make it the best sounding kit or guarantee awesomeness. Over my time as a drummer, playing in lots of different situations, I discovered what many have already, and that is that sometimes the most unexpected piece of gear, regardless of the price can be just the thing you’re looking for.

An example for you; the snare I use on 70% of my R’n’B gigs is a Mapex maple 12x7” MPX. This is a base model that I bought for around $200 to do some roving gigs. Not exactly breaking the bank, because I just didn’t need a really great snare for that gig. As it turned out though, that little Mapex just happened to be a cracking snare and suddenly became one of my favourites. There’s countless other stories like this and every drummer with have one to tell if you ask them.

Where this situation pops up the most is in the studio. I’ve done sessions where I ended up

using - quite possibly the worst set of hi-hats in the world because they really suited the vibe when mic’d up through the console and played with the rest of the kit and the track. Most interesting is when I ended up using a Pearl export snare, tuned as low as I could and covered in gaffa tape. You just never know what and where something might work.

Therefore the moral of this story is this. In all cases, it’s what your ears are telling you that is the best formula for gear choice. Don’t be afraid to get the ‘not as sparkly’ model instead of the crazy expensive one if you don’t need it. Don’t get me wrong, the $2000 DW snare will be a ridiculously good sounding drum and I for one use a Ludwig Black Beauty on many occasions, but just because they’re expensive doesn’t mean they’ll suit every gig or recording session. The key to a good sound is experimentation.

So drummers, let us open our ears and then open our wallets! You never know what might happen.

BY ADRIAN VIOLI


Right, it has come to that time of year where I have a little bit of a rant about the computers we are all using in our studios. Yes, I usually hold off until the New Year to get this one off my chest, usually focusing more on getting yourself some new studio toys for Christmas, but I think we all need to consider what is letting us down in our production set-up before we go grabbing new toys that will be a lot of fun, but won’t really solve any of our problems. So, let’s go about cleaning our machines. Getting your studio computer working as best as it can is essential, so you aren’t fi ghting against poor performance all the time.

LEGITIMISE YOUR TOOLSI had a couple of people in need of help with their recording machines in the last few weeks and what seemed to be the main cause of their woes was illegitimate software. Tsk tsk. Well, I am sure we have all done it at some time or another- the temptation to grab a free piece of software from the internet to save a few dollars is always ripe. It is easy to think that you can get away with downloading a cracked copy of some software and not paying for what you rightly should. Yes, it seems like a good idea at the time and may well work right off the bat, but you are setting yourself up for all sorts of problems. Ultimately, you are asking to look into the ‘blue screen of

death’ when your system decides not to cope with what is being asked of it. There is a reason why software programs cost what they do. You have to account for research and development costs of the program, but you also need to consider the ongoing support and upgrades that come as part of purchasing the real thing. We all know how fast our computer systems can change internally with constant updates needing to be downloaded in order to keep your operating system up to date with current plug-ins. So, why would you think that a copied piece of software is going to be able to work as the computer system running it changes around it?

HOME STUDIO HINTS:HOME STUDIO HINTS:HOME STUDIO HINTS:C LE A N I N G TH E M AC H I N E

(D)IGITAL (J)OCKEY

So, some of you may be thinking, why would I rush out and buy Ableton Live 8 now when the new version is touted to be released in the fi rst quarter of 2013. Well, it may not have occurred to all of you, but you should be able to save a few bucks by doing this. As with any good software company, Ableton offers a free upgrade to the latest version when the older one is purchased and authorised within a certain date close to the new release. Well, we have now found ourselves within that window of upgrade opportunity, so anyone purchasing Ableton Live 8 now and registering their software with Ableton will be eligible for a free upgrade via download when Live 9 is released. So, that comes as really good news with the price of Ableton Live 8 being dropped by 25% in the last month to clear out the remaining stock of boxed Live 8 software packages.

Sure, this does mean you will have to install one version of the software now and then download and install another version in a month or two, but really, that isn’t too diffi cult. It will mean you will have a full working version of Ableton Live 8 to get you through the Christmas and New Year period and it will mean you are going to save some money on the purchase price of Live 9.

That said, the new version isn’t looking like being a total overhaul of the program as can sometimes be the case. What Live 9 looks like being is a building block on the existing Live 8 with some new features added that will make many users quite happy. Obviously, if Live 8 is working with you existing system and it does all you need, you may not want to go about the upgrade, as often I fi nd myself not wanting to shift from one version of a program to the next when my existing software just does the job the way I want it already. But, you shouldn’t have to fear the program being totally overhauled and unrecognisable. It looks like Live 9 is going to be an almost seamless changeover for existing users, but will give them a series of additional tools to work with if they choose to or not. So, stay tuned for a full unveiling of the new features and get in quick to grab a copy of Live 8 at a reduced price now if you haven’t already.

BY ROB GEE

(D)IGITAL (J)OCKEY(D)IGITAL (J)OCKEYK E E N A N D A B LE TO N

Since it was fi rst released some years back, Ableton Live has been embraced by DJs looking for a software package that integrates smoothly into their live setup. Beginning as an application purely designed for live use, Ableton have over the years enhanced the software so it is now a very real contender in the DAW market with many producers and DJs using the current version, Live 8, in the studio with excellent results. Well, I am sure many of you already know this as you are probably making great music with Live already. But, if you aren’t, now might just be the time to take the plunge into the world of Ableton with Live 9 about to be released.

For more information on the Ableton range of products, contact CMI Music & Audio on (03) 9315 2244 or visit www.cmi.com.au

For more information on the Protools range of products visit www.avid.com

REGISTER AND KEEP UP TO DATEPurchasing your software from a licensed dealer means you get the most up to date version in the box that is available. This is generally out of date already by the time you get to installing it. So, free updates are usually available when you register your software to ensure it is as compatible with your system as possible. When you do run these updates, be sure to check if they are just an update or a full replacement software package. If the latter is the case, ensure that you properly remove the old version form your system before installing the new one. Don’t just delete it. A full un-install will be required otherwise you may fi nd the computer trying to access two sets of

confl icting command fi les and creating interrupts to the system. And, if you do have problems, remember you have access to technical support because you paid for your software and so are eligible for support when you have issues. In short, buying your software relieves the headaches that come with pirated software and ensures your system is always up to date.

BY ROB GEE

qsc.com

©2012 QSC Audio Products, LLC. All rights reserved. QSC and the QSC logo are registered trademarks of QSC Audio Products, LLC in the U.S. Patent and Trademark office and other countries. MI SalesTrak is a registered trademark of Marketing Information Services, Inc. in the U.S. Patent office.

The K Family didn’t become the #1-selling line of loudspeakers* in the U.S. just by showing up to the party. Like you, we’re where we are today as a result of hard work, continuous improvement, and a deep understanding that every performance matters. When you do things right, people notice and you earn their business. No shortcuts. It sounds so simple, doesn’t it?

So while your audience out front will probably never know the time, effort, and dedication that went into preparing a great experience for them, we do. And we’ve got your back.

Party in thefront.

Business in theback.

*Among all brands in retail dollar sales. Source: MI SalesTrak, 2010-2011

In Australia: TAG. Ph. (02) 9519 0900 / E. [email protected]

K Series KW SeriesKLA Series


Woah, that came up quick! It’s that time of year again

where we look forward to a bevy of musical treats under the ol’ Christmas tree (if we’re lucky). If you’re looking for a gift for that special someone or whipping up a wishlist, there are plenty of options for the music-minded out there. To help you out a little, we’ve reviewed an extensive selection of this season’s most desirable products. We take a look at a huge range of top-shelf stocking fi llers and gifts, all priced under the $1000 mark. No matter what instrument you (or the person you’re shopping for) plays, we have you covered – guitars, mics, accessories, you name it. Ain’t no lumps of coal here!

ULTIMATE XMAS WISH LIST

RECOMMENDED FOR: Perfect for every ukulele player who wants a quick and easy way to ensure their instrument is in tune and ready to go.

SOUND AND TONE: It’s a tuner and it clips on to your instrument’s headstock, so it does not in any way affect the tone of the ukulele. It can be left on whilst playing without fear of changing your tone.

PLAYABILITY: A simple one button operation gets the tuner up and running. It detects the note through vibrations in the wood and shows the note and relative tune on a large bright screen.

CONSTRUCTION: The rocking clip fi ts onto just about any shaped headstock and the swivel head means you can always see the screen no matter how you mount the tuner.

OVERALL: There are plenty of tuners out there, but this one makes tuning ukuleles quick and easy as it is designed to detect the standard ukulele notes and show you how far out you are at fi rst strike of the string.

RECOMMENDED FOR: This is the tuner you want to use when you want really accurate tuning, and fast. It shows minor adjustments to the pitch as soon as it happens, so you do not over tighten the string before the tuner has a chance to show you.

SOUND AND TONE: This little beauty has no sound, nor any tone. But it does ensure you are able to detect when your instrument is not in tune, ensuring you get the best sound from whatever instrument you use it with.

PLAYABILITY: A simple one button operation gets the tuner up and running. There are additional controls on the rear, but what makes this one stand out from the Snark range is the bright screen and the speed with which it shows tuning adjustments.


OVERALL: This chromatic tuner allows you to tune just about any instrument in a fast and accurate fashion. With the Super Tight Snark, you have no excuse for playing out of tune.

RECOMMENDED FOR: Great for any guitarist or bass player that wants a pocket sized tuner as well as the convenience of a metronome built in for keeping steady time when practicing.

SOUND AND TONE: The tuner captures the sound through either the inbuilt microphone, or through a jack plug for electric instruments and quickly and accurately responds to changes in your guitars tuning.

PLAYABILITY: This is really simple to use. It is fully chromatic, so you can tune to any note, sharp or fl at and allows pitch calibration of up to 20Hz. The metronome is loud and audible and has a variety of patterns with varying speed.

CONSTRUCTION: A tough little box with strong screen protection. It also features a smart power off function that shuts the unit down when not used for a period of time to conserve battery life.

OVERALL: If you need a budget tuner to keep in your case, the CM40 is a great option. Its coloured screen is highly visible in all light situations and the added bonus of a metronome is very handy indeed.

RECOMMENDED FOR: Perfect for every stringed instrument player who wants a quick and easy way to ensure their instrument is in tune and ready to go.

SOUND AND TONE: It’s a tuner and it clips on to your instrument’s headstock, so it does not in any way affect the tone of your instrument. It can be left on whilst playing without fear of changing your tone.

PLAYABILITY: A simple one button operation gets the tuner up and running. It detects the note through vibrations in the wood and shows the note and relative tune on a large bright screen.


OVERALL: Being chromatic, you can tune to any note you like, making it ideal for odd tunings and just about any instrument you can think of, as long as you can clip it on somewhere that is resonant.

DISTRIBUTOR: AUSTRALASIAN MUSIC SUPPLIES


DISTRIBUTOR: ELECTRIC FACTORY


SNARK UKULELE TUNER WSN6

SNARK SUPER TIGHT TUNER WSN8

SAMSON CM40 TUNER METRONOME

SNARK CHROMATIC TUNER WSN2

RRP: $19.95

RRP: $29.95

RRP: $28

RRP: $29.95

DISTRIBUTION DETAILSDISTRIBUTOR: PHONE/EMAIL: WEBSITE:AMBER TECHNOLOGY 1800 251 367 www.ambertech.com.auAUSTRALIASIAN MUSIC SUPPLIES (03) 9549 1500 www.austmusic.com.auAUDIO PRODUCTS GROUP (02) 9669 3477 www.audioproducts.com.auCMC MUSIC (02) 9905 2511 www.cmcmusic.com.auD’ADDARIO AUSTRALIA (03) 8761 6293 [email protected] MUSIC (02) 9939 1299 www.dynamicmusic.com.auELECTRIC FACTORY (03) 9474 1000 www.elfa.com.au JADE AUSTRALIA 1800 144 120 www.jadeaustralia.com.au MAJOR MUSIC 1300 30 66 70 www.majormusic.com.auNATIONAL AUDIO SYSTEMS 1800 441 440 www.nationalaudio.com.auRODE MICROPHONES (02) 9648 5855 www.rodemic.comTAG (02) 9519 0900 www.tag.com.au YAMAHA (03) 9693 5111 www.au.yamaha.com

WISH LIST PRICING KEY

DECEMBER GIVEAWAYASHDOWN FIVE FIFTEEN MINIRIGFor full details go to page 6. For review check out page 41: Merry Christmas from good friends D’addario Australia.

UNDER $100 $251 - $500

$101 - $250 $501 - $1000


RECOMMENDED FOR: Anyone who needs a long-life string, but that’s a given. The Cobalt series offers additional output and top end brilliance too, so there’s a tangible tonal benefi t as well for all players.

SOUND AND TONE: Cobalts sound a little bigger, deeper and tougher than regular strings, interacting with the pickups’ magnetic fi eld to give you more punch and articulation. They have a great high end which is bright without being buzzy, and this makes them great for players who predominantly use clean amp settings.

USABILITY: Honestly? I’ve had a set on my Strat for over six months and they still sound and feel new. Granted I don’t play it every day, but when I’ve worn them out I’ll change them for another set of Cobalts because they suit this guitar perfectly.

CONSTRUCTION: You can feel a kind of silkiness when you unwrap these strings, and it’s also noticeable when performing slides. They seem very well constructed.

OVERALL: You would think there wasn’t anything new to be done with strings but the Cobalt series really offers something new, with bigger tone and longer life.

RECOMMENDED FOR: This is a wonderful addition to any home studio even when other microphones and pre-amps are already in use. The ease of connection and setup makes it ideal for song writing ideas straight into the computer.

SOUND AND TONE: For a microphone that houses a preamp and digital converters, the ATR2500-USB actually has a very nice sounding capsule. You don’t get too much operating noise from the additional internal components.

PLAYABILITY: This is really easy to get up and running. Once installed, monitoring is offered direct from a headphone output on the microphone so you can, with just a laptop computer and the supplied accessories, get recording without anything else.

CONSTRUCTION: This is a solidly built unit. The capsule is well supported and the controls feel fairly rigid in the fi ngers.

OVERALL: The idea of the USB microphone is nothing new, but Audio Technica have produced a model that offers excellent quality recording for the price. This is a quick solution to computer recording, and yet, it still offers great results.

RECOMMENDED FOR: Those with a fl air for design and a need to have their guitars within arm’s reach or at the very least attractively displayed.

SOUND AND TONE: There’s no tone or sound to speak of here, since it’s a guitar stand, but in terms of versatility it’ll protect your electric, acoustic or bass guitar from falls and scrapes, and it’ll look cool while doing so.

USABILITY: Easy to fold up and stash away, and easy to transport.

CONSTRUCTION: It might look a little bit like a Droideka from Star Wars Episode I: The Phantom Menace, but that’s because the Woodie and the Droideka both have the same purpose, protecting your growing empire.

OVERALL: A very handy little stand for home or stage use. It’s much more attractive than the average guitar stand, and its low centre of gravity makes it feel much sturdier too.

RECOMMENDED FOR: Bass players wanting to add some effects to their arsenal be it in the studio or on stage.

SOUND AND TONE: With quite a variety of effects you’ve got the ability to tweak away for hours - Modulation, Drive, Amp/Cab Models, Reverb, Delay and Noise Reduction. I dug the funk type tones and as you’ve got 20 user presets you can set up an array of sounds to switch between.

USABILITY: As a stompbox it’s fairly user friendly and just a matter of scrolling through presets. For the in depth stuff you need to get into the tweaking possibilities which will take a little stuffi ng around but then you’re away.

CONSTRUCTION: Tough both in feel and looks the all black casing and treadle seem ready for some serious use.

OVERALL: A compact multi effects pedal in a small package aimed at bass players the StompLab IB has a lot going for it in terms of effects and tones. With the modelling capabilities onboard you can also explore direct uses like recording and straight to FOH.

RECOMMENDED FOR: Steel-string acoustic guitarists who need a long-life string for live, recording or even around-the-house playing.

SOUND AND TONE: A great all-purpose string with warm, right bass frequencies and clear, airy highs. They’re not overly harsh in the upper mid-range like some other coated strings.

USABILITY: Ernie Ball has engineered these strings for maximum life and tone. After 50 years you can be sure they know what they’re doing!

CONSTRUCTION: These strings use a proprietary nanotechnology treatment which repels unwanted moisture and oils, while the plain strings have a patented titanium winding around the ball end to reduce slippage and breakage, and to maintain tuning integrity.

OVERALL: Ernie Ball don’t do things by halves, and while these strings haven’t really even been out long enough to truly judge how long they last over extended periods, history tells us they’re gonna live up to their name.

RECOMMENDED FOR: Anyone looking for the classic Vox Wah tone in a slightly cheaper package without the bling.

SOUND AND TONE: Funky with a nice sweep you get a good clean tone range with a clear quack. Harking back to the classic Vox Wah tone it’s defi nitely in a similar vein and gets you in the Vox Wah ball park.

USABILITY: Simple. Step on it and rock back and forth. Other wahs have tried on/off switches and a host of options but this straight forward design is still as popular as ever.

CONSTRUCTION: Tough both in feel and looks the all black casing and treadle seem ready for some serious use.

OVERALL: Vox have taken their classic chrome top wah, made a few tweaks and put it in all black case at a reduced price here. Still sounds good and costs a little less, sweet!

RECOMMENDED FOR: Home, practice, studio, recording on the go, tech enthusiasts!

SOUND AND TONE: As an audio interface the AMPKIT Link provides high fi delity connectivity to the AmpKit App without feedback and minimal latency. For those not in the know you can then connect to AmpKit and get 114 amp and pedal models available via AmpKit for everything from super clean American amps to Hi Gain monsters including real brand name amps like the Peavey Classic 30 and Peavey 6505+. Pedal wise you get distortions, EQ, Noise Gate, Compressor, Modulation, Delay, Wah. Minimal latency and the ability to use both wet and dry recordings gives you even more power for recording. Super versatile and the amp and pedal models sound great.

USABILITY: The Ampkit Link itself is a piece of cake - power, guitar, interface, iPhone/iPad/iPod and you’re done! From there it’s up to you to get anything from basic sounds to crazy setups and recording options.

CONSTRUCTION: Small and solid it’ll sit in your bag, gig bag, laptop case or pocket nicely. OVERALL: The AmpKit has been an iPhone fave and Peavey’s AmpKit specifi c interface makes that app even more usable. Awesome!

RECOMMENDED FOR: Live guys wanting a multi effects type setup in a small package on a small ish budget.

SOUND AND TONE: Super versatile with 103 built in effects, space for 20 user presets (along with the 100 factory presets), chromatic tuner and stereo outs. Sound wise you can run through modulation effects, reverb and delay and add drive, amp and cabinet models and noise reduction.

USABILITY: Easy to get a sound out of with a bit of twiddling, look into the IG a little deeper and you’ll get the hang of tweaking sounds/effects to your content.

CONSTRUCTION: With steel casing and sturdy stomp switches it feels fi ne under foot. Perhaps not as super bullet proof as some other brands but for the price is well worth it.

OVERALL: A cool pedal for live use, scaled down rigs that need mulitple tones/effects, rehearsals, gigs and recording. Pretty sold on this one.

DISTRIBUTOR: CMC MUSIC

DISTRIBUTOR: TAG

DISTRIBUTOR: JADE AUSTRALIA

DISTRIBUTOR: YAMAHA AUSTRALIA



DISTRIBUTOR: AUDIO PRODUCTS GROUP


ERNIE BALL COBALT STRINGS

AUDIO TECHNICA ATR2500-USB MICROPHONE

WOODIE GUITAR STAND

VOX STOMPLAB IB BASS EFFECTS PEDAL

ERNIE BALL EVERLAST COATED ACOUSTIC STRINGS

VOX CLASSIC WAH V845

PEAVEY AMPKIT LINK AUDIO INTERFACE

VOX STOMPLAB IG GUITAR EFFECTS PEDAL

RRP: $22.95

RRP: $149

RRP: $34.95

RRP: $99.99

RRP: $36.95

RRP: $89

RRP: $59.99

RRP: $99.99


RECOMMENDED FOR: Kids, Adults, those with smaller hands, travellers and anyone wanting something smaller in size and portable.

SOUND AND TONE: Lively and clean the BZ-MT1C has plenty of volume and a full, slightly mid focused tone.

USABILITY: Great for a beginner, younger player/student not quite ready for a full sized guitar or for those who enjoy playing something different and need portability.

CONSTRUCTION: Typical of all the Martinez gear I’ve seen recently this little acoustic feels solid and well built with a clean, neat fi nish. Plus, it came pretty well set up with great intonation straight out of the box.

OVERALL: Another entrant into the mini/traveller/small bodied acoustic market this little Martinez matches up well to its often more expensive peers.

RECOMMENDED FOR: Beginner or amateur players. Those after a nice playing, good sounding dreadnought at a super cheap price.

SOUND AND TONE: Loud and full tonally I was surprised at the RD-04’s body and overall sound. Plenty of volume, even and balanced with none of that zingy, super bright top end that haunts some cheaper acoustic guitars. A dreadnought shape, the bigger body helps with the balance and woody tone.

USABILITY: Good body and neck size that would suit strummers and play along chord type guys. Obviously the RD-04 is a bigger dreadnought shaped guitar but it still felt comfy both sitting and standing.

CONSTRUCTION: Understated and straight ahead the RD-04 isn’t fl ashy but looks the part and more than meets the mark for its price tag! A combination of maple, plywood, sapele, solid spruce and rosewood work together for a clean fi nish.

OVERALL: A ripper of a guitar for its price point the RD-04 could be a great beginner guitar, around home basher or holiday sing along axe. Shows that cheap doesn’t necessarily mean nasty.

RECOMMENDED FOR: Home, small rehearsals, travelling musicians, those limited by size/space and anyone after a compact, portable guitar amp with extra PA type functionality.

SOUND AND TONE: Vox have included 11 amp models and 8 effects in the Mini 3 and for 3 watts of power its surprisingly loud and clean. Tonewise you can do super clean through to jangly and saturated metal tones and then add in effects.

USABILITY: Straight ahead as a guitar amp with the added bonuses of Aux In for plugging in an iPod/mp3 player and a Mic In making the Mini 3 a compact PA type setup too.

CONSTRUCTION: Small yet strong and well laid out.

OVERALL: The Mini 3 packs a whole lotta punch into a small package. Cool amp and effects sounds with the option of extra inputs makes it a pretty sweet little setup for jamming, practice, home or small live settings.

RECOMMENDED FOR: This is a great amp for someone looking for a low volume practice amp for use at home. Perfect for the beginner needing an amp that sounds a little better than many of the low priced amps on the market.

SOUND AND TONE: This 15 watt amplifi er features an 8 inch Celestion speaker which has much more headroom than the speakers in other amps of the same price, giving you a warmer tone and the ability to make use of the full 15 watts with speaker distortion.

PLAYABILITY: The HGT-P1508 has a glassy clean tone and heavy overdrive making it quite usable for a variety of styles.

CONSTRUCTION: This is a simple design; it doesn’t have the biggest transformers, so it is fairly lightweight, with an open back. Because of this, it doesn’t feel as solid as it could but I’m sure this is conscious decision to highlight its practice portability.

OVERALL: You probably wouldn’t gig with this amp, but it will serve the purpose for a brilliant practice at home amp with a variety of tones.

RECOMMENDED FOR: Kids, those with smaller hands, travellers and anyone wanting something small and portable to use around the house.

SOUND AND TONE: Big, clean and full sounding the JR2 has tonnes of volume for a smaller bodied guitar. Although slightly mid range focussed (as is the case with most smaller bodies) its well balanced and not too super bright in the top end.

USABILITY: Compact enough to throw in the car, sit on the couch or take to a mate’s place the JR2 opens itself up to a range of possibilities. I really, really like the fact that it still has a decent sized neck too making it feel more like a serious instrument than just a gimmicky guitar - beauty!

CONSTRUCTION: Looks the goods, feels nice to play and still has that feeling of Yamaha consistency and workmanship.

OVERALL: I really dig the JR2. Small bodied yet still plays well and has the tone to back it up.

RECOMMENDED FOR: Beginners, people looking for an inexpensive guitar pack.

SOUND AND TONE: Clear and lively the DG1K fi ts the bill for a starter type guitar with a glossy natural fi nish and even woody tone. It is super responsive with plenty of volume and a nice bit of zing when you dig into it.

USABILITY: A dreadnaught styled guitar the DG1K feels fi ne to play and the fact that it comes loaded with extras defi nitely adds to its ‘starter pack’ value. With a gig bag, guitar strap, pitch pipe, guitar stand, plectrums, string winder and a DVD you’re getting a nice little bounty that will more than get you on your way.

CONSTRUCTION: A combination of spruce, basswood, natowood and rosewood it’ll handle some serious bashing no problems.

OVERALL: SX have put together a neat package with the DG1K and it’s a guitar that will get you started and have you covered with accessories.

RECOMMENDED FOR: Beginners, those after a no-frills small/home/practice amp.

SOUND AND TONE: Ashdown have gone for a 6.5” driver in the Tourbus 10 and whilst it won’t rock Madison Square Garden it’s got a nice little tone with some guts that can be pumped a little via the Bass and Treble controls. Being a small package and damn light it’s just about as portable as you’ll get for a practice amp.

USABILITY: Perfect for bedroom or home jamming and again featuring a headphone out and MP3 in, it gets a thumbs up for those into late night practice. CONSTRUCTION: Looks well put together and decent quality. The Logo, white piping and steel corners are nice touches too adding a bit of pro feel to a budget amp. OVERALL: Ashdown are covering all bases with their All Access Amp (AAA) range and the Tourbus 10 adds another option for those just wanting a simple, user friendly practice amp. Ideal for beginners and the perfect x-mas present for the aspiring muso.

RECOMMENDED FOR: Perfect for beginners or as a nice little practice amp.

SOUND AND TONE: Controls for Volume, Bass, Middle and Treble keep everything fairly stock standard. Enough variation to tweak a little and clean enough for a solid bedroom level and practice tone.

USABILITY: No frills here and super easy to use. The Headphone out and mini jack MP3 input are good additions meaning you can jam with your favourite tunes and not really annoy anyone else.

CONSTRUCTION: Whilst small sized and fairly light weight the cabinet seems solid and the steel corners and black covering look tough. It’s not the kind of amp that you’d be regularly packing in a truck and touring the world with but is well suited to the rough and tumble of home and practice environments.

OVERALL: These small wattage practice amps regularly get over fi lled with features that aren’t even used so a straight ahead practice amp with headphones out and MP3 input really covers it here. Loud enough, clean enough and built tough.


DISTRIBUTOR: DYNAMIC MUSIC


DISTRIBUTOR: D’ADDARIO AUSTRALIA





MARTINEZ BABE TRAVELLER GUITAR BZ-MT1C-NST

RECORDING KING RD-04 ACOUSTIC GUITAR

VOX MINI 3 MODELING GUITAR AMP

HAYDEN HGT-P1508 GUITAR AMP

YAMAHA NATURAL JUNIOR ACOUSTIC JR 2

SX DG1K ACOUSTIC GUITAR PACK

ASHDOWN TOURBUS 10 BASS COMBO

ASHDOWN TOURBUS 15 BASS COMBO

RRP: $179

RRP: $199

RRP: $129

RRP: $199.99

RRP: $175

RRP: $199

RRP: $119.99

RRP: $149.99


RECOMMENDED FOR: Bedroom, practice amp guys that want plenty of features or someone needing a portable small wattage amp with effects, modelling and plenty of i/o.

SOUND AND TONE: 24 amp models, 11 editable rack effects and a heap of parameters to tweak mean you can really run the whole gamut of guitar tones. Clean vintage or hi-fi through to broken British and US sounds and the ultra heavy saturated dirty vibe also. The effects are cool and tweakable giving you a heap of versatility.

USABILITY: Easy to get your head around. Although it might look a little congested on the front panel Peavey have done a great job of making this logical and concise so that you can program, tweak and save your tones in as much depth as you like. Headphone/Record out and Aux in give you the ability work silently or direct to a computer/mixer and jam along with your favourite tunes.

CONSTRUCTION: Looks the goods with rugged corners, handle and covering and the grille, faceplate and edgings defi nitely seems a little more classy than your average el-cheapo practice amp.

OVERALL: Peavey have slammed an awful lot of features into the VYPYR 15 so you’re getting a lot of bang for your buck. The amp models and effects sound cool plus you can save presets - gold!

RECOMMENDED FOR: Great for guitar and vocal looping in any existing rig. The Lil Looper gives you looping and guitar effects in one compact unit that can reduce you pedal board needs.

SOUND AND TONE: The digital looping features give you a precise replication of what goes in. With added guitar effects you can give your loops something extra to really stand out in the mix.

PLAYABILITY: This unit is really easy to get working with you playing style. Its simple layout makes it easy to record loops and engaged playback and overdubbing without putting too much thought into the looping process.

CONSTRUCTION: The small frame is ideal for fi tting the Lil Looper into existing pedal boards and it feels much sturdier in build to the previous loop pedal from Vox.

OVERALL: This pedal gives you a lot of versatility that is usually found only in larger framed pedal units. It is simple to use and set up and delivers great results when being used on the fl y in a live situation.

RECOMMENDED FOR: Classic Rock fans, indie players, and maybe even the odd blues or country player looking for something a little bit different.

SOUND AND TONE: What really stands out about this pedal is its spectacular headroom. It doesn’t distort in that unmusical way that some tremolos do when pushed to extremes. Instead it sounds deep and musical - an integral part of your sound, rather than something that’s ‘happening’ to your sound.

USABILITY: It’s kind of clunky and heavy and a bit oversized compared to most other pedals but don’t let that deter ya: it sounds great and is easy to use.

CONSTRUCTION: Built like a tank it can be treated like a tank...although you should be mindful as you don’t want to break the inbuilt tube that helps to make it sound so good.

OVERALL: Much more versatile than certain ‘two knob’ tremolos out there, and capable of delicate shimmery subtlety as well as extreme helicopter-chop exaggeration.

RECOMMENDED FOR: When you only want one microphone to take care of a variety of uses, the CS Series allows you the freedom to change how a hand-held dynamic microphone can perform.

SOUND AND TONE: For both instruments and vocals, you get a fairly familiar tone that is reminiscent of many similar microphones, but it all comes with the versatility of being in once package.

PLAYABILITY: Changing the capsules is quick and easy. It only takes a matter of moments and you have a whole new microphone ready to go.

CONSTRUCTION: The framework as all good, it is a solid build in the handle with a smooth removal and replacement of the capsule on slick threading.

OVERALL: When one microphone isn’t going to cover all your needs, when you want to switch from vocal to instrument microphone applications, the CS Series gives you that versatility without the price tag of multiple microphones.

RECOMMENDED FOR: This little bad boy is perfect as a practice amp or bedroom amp.

SOUND AND TONE: A fat, tight low end the After 8 has good headroom and overall volume for a small amp. I really liked the tonal variation and for 20 watts and an 8” speaker you can still get quite a thumping tone.

USABILITY: Simple to get started the After 8 also has the advantage of a line in for plugging in a CD/MP3 player or iPod and with a dedicated Headphone Out you can practice at all hours without annoying anyone.

CONSTRUCTION: Looks tough and made to last and with the Ashdown brand you’re getting an established name.

OVERALL: Often smaller sized/wattage amps suffer from tiny sound and tinny tones but the Ashdown After 8 is punchy and fat with a great low end response - a pleasant surprise.

RECOMMENDED FOR: Live and studio guys of any ability wanting a sturdy tuner that won’t take up too much space.

SOUND AND TONE: The best part is you won’t hear the Polytune Mini, you should just hear the results of your guitar being in tune. With true bypass it doesn’t mess with your tone and with a tonne of tuning options you’ll be covered for Drop D, fl at tunings, capo and the ‘Poly’ idea where you can strum all six strings at once. Handy for quick assessments of which string(s) are out of tune and tweaking from there.

USABILITY: Small in size, so won’t take up too much precious pedal board real estate. Big on features and tuning capabilities but can also be used as a straight up tuner with =/- 0.5 cents accuracy for precise tuning.

CONSTRUCTION: Tough steel casing, bright screen with fl uoro colours, solid switch and typical TC Electronic design/engineering - sweet!

OVERALL: I’m sold. Compact, accurate, extra bells and whistles or simple if you prefer. Looks trendy and does a great job without colouring your tone – boom! Thankyou TC.

RECOMMENDED FOR: Classic rock fans, indie players, and maybe even the occasional blues or country electric guitar players looking for something a little bit different.

SOUND AND TONE: What really stands out about this pedal is its spectacular headroom. It doesn’t distort in that unmusical way that some phasers do when pushed to extremes. Instead it sounds syrupy, spacey and musical. That 12AU7 tube certainly makes a difference compared to the vast majority of phasers without tubes.

USABILITY: It’s kind of clunky and heavy and a bit oversized compared to most other pedals but don’t let that deter ya: it sounds great and is easy to use.

CONSTRUCTION: Built like a tank. Seriously, it looks and feels like some kind of military control box. You could use it to hammer nails and silence enemy combatants.

OVERALL: Much more versatile than certain ‘one knob’ phasers out there, and capable of delicate subtlety as well as extreme exaggeration.

RECOMMENDED FOR: This is a great sounding overdrive pedal that offers something slightly different to many others out there on the market. Great for adding a little extra drive to your guitar tone.

SOUND AND TONE: This pedal has a great bite to its tone. It gives you plenty of gain boost and has a 100Hz tone knob for really pushing your sound in the mix. Added with the “Bump” button for extra push, this sounds quite unlike most overdrives on the market.

PLAYABILITY: The Modifi ed OD works well to push your valves for extra drive or even when you want to really heat up the signal on top of your existing drive channel.

CONSTRUCTION: Put simply, it’s an MXR. These pedals just aren’t made anyway except well. It is built like a brick and will stand up to anything you throw at it.

OVERALL: I love it. The Custom Badass series gives us a great interpretation of drive and distortion pedals. The Modifi ed OD is no exception. It has a great drive tone and the ability to sound unlike any other pedal, depending on how you run it.






DISTRIBUTOR: AMBER TECHNOLOGY



PEAVEY VYPYR 15 COMBO

VOX LIL LOOPER EFFECT PEDAL

HIWATT TUBE TREMOLO EFFECTS PEDAL

SAMSON CS SERIES MICROPHONE

ASHDOWN AFTER 8 BASS AMP

TC ELECTRONIC POLYTUNE MINI

HIWATT TUBE PHASER EFFECTS PEDAL

MXR CUSTOM BADASS MODIFIED OD PEDAL

RRP: $249

RRP: $189

RRP: $220

RRP: $112

RRP: $249.99

RRP: $149

RRP: $205

RRP: $199


RECOMMENDED FOR: Anyone looking for a rugged live microphone that sounds great, is built tough and works well even on loud stages or with unconventional fold back monitoring.

SOUND AND TONE: This microphone has been modelled around a world famous stage microphone, but it has a slightly improved top end presence than similar microphones and a more level bottom end.

PLAYABILITY: With the high gain nature of the capsule, you can push this microphone on loud stages with fear of feedback. It allows you to get maximum volume from your vocals without fear of the PA taking off on you.

CONSTRUCTION: These microphones are built to an amazing quality. You can throw them around, drop them, even give them to the drummer for safe keeping and they will continue to give you great results.

OVERALL: These microphones are amazing value for the price. They will be appearing on more and more stages as people begin to hear how well they work. Don’t be left behind being stuck with the house microphones, bring your own and make it an M1.

RECOMMENDED FOR: This is a great little addition to any home DJ setup where you want to get your mix from the decks into the computer without too much fuss or large hardware units.

SOUND AND TONE: This simple device allows line level and microphone inputs to your PC with low latency times for simple and easy recording and DJ interfacing.

PLAYABILITY: The Ebox 44 will run on a machine as slow as a Pentium III and even works on legacy operating systems going back to Windows 98, so it is perfect for turning even you old machine into a recording device.

CONSTRUCTION: The sturdy build and fi rm connections make this a go anywhere USB interface that can take the rigours of club use with a laptop just as well as in the studio.

OVERALL: The Ebox 44 isn’t overloaded with unnecessary bells and whistles, it is designed for a purpose and at a price and it does that well.

RECOMMENDED FOR: Home-recording guitarists looking to add some keyboard vibe to their tracks without learning keyboards, or progressive experimentalists who want to explore its more extreme abilities.

SOUND AND TONE: As versatile as the sound bank you plug it into - which means super mega versatile. It can sound like anything, from drums to voice samples to full orchestral lines and alien sci-fi sounds.

USABILITY: It takes a bit of time to readjust your playing style to get the most out of this guitar, but once you’ve fi gured it out it can be incredibly expressive and intuitive. Not really a plug-and-play instrument though - spend some time with it before getting up on stage with one.

CONSTRUCTION: It feels like what it is - a computerised guitar-like instrument made of plastic - but the construction keeps the cost down and makes it accessible to more players who might not otherwise be able to experiment with synth/MIDI guitar.

OVERALL: A genius tool for unlocking creativity by tapping into a wealth of software instrument sounds while using your existing guitar technique. Every guitarist willing to experiment should have one!

RECOMMENDED FOR: Beginners, people looking for a concise guitar pack that won’t break the budget.

SOUND AND TONE: The EG1K defi nitely covers all bases in the starter/entry level guitar realm with a good fundamental tone, some good variation thanks to the Strat styled body and 3 single coil pickups plus you get the GA1050 Guitar Amp included in the price (along with heaps of other gear) so you’ll be making noise in no time.

USABILITY: The EG1K itself felt nice to play and the fact that you also get the aforementioned amp as well as a lead, Qwik Tune Tuner, strap, plectrums, gig bag and a DVD means you’re off to a good start.

CONSTRUCTION: Solid Alder body, Maple neck and a Rosewood board gives you a good starting point guitar wise.

OVERALL: This time covering the Electric Guitar ground the EG1K is a great starter package that will get any beginner off on the right foot. A solid feeling Electric Guitar and some snazzy extras makes it awesome value to boot.

RECOMMENDED FOR: This is a great addition to an iPhone or iPad to turn it into a serious audio recording device. Unlike many consumer add-on microphones, the Mikey Digital doesn’t allow the use of an iPhone to bring down the recording quality.

SOUND AND TONE: The condenser microphone capsule delivers crisp high frequencies and a surprisingly solid low end response. It doesn’t sound like a phone, it sounds like a professional recording unit.

PLAYABILITY: Easy to install, the Mikey Digital is up and running in a fl ash. It has the ability for the capsule to bet set in seven different positions allowing up to 230 degrees of recording scope without adjusting the position of the unit.

CONSTRUCTION: For what it is, a phone accessory, the Mikey Digital is really well made. When fi tted to an iPhone it sits in place fi rmly and doesn’t feel like it is going to come off easily.

OVERALL: This has to be the best way to get CD quality recording direct to your iPhone or iPad. It s compact, well built and offers plenty of fl exibility in audio capture.

RECOMMENDED FOR: This is the perfect addition to every studio and live setup. This microphone works well for drum overheads, guitar amps, acoustic guitars and even vocals.

SOUND AND TONE: Being a small capsule condenser microphone, the M3 gives you a sharp high frequency response, but still retains plenty of low end in its audio capture.

PLAYABILITY: With the ability to run on a 9 volt battery, with up to 200 hours battery life, you don’t even need phantom power for this microphone so it can be used in just about any situation, even fi eld recordings.

CONSTRUCTION: The sturdy casing and solid cable connection makes this a tough microphone that will go the distance and continue to give you great results time and time again.

OVERALL: If you are only going to have one microphone in your home studio this should be it. The M3 does just about everything. I have used it for vocals, guitars, percussion and even upright bass. It’s the Swiss Army knife of condenser microphones.

RECOMMENDED FOR: Perfect for live or studio applications, this is the little wonder box that works as a DI, a tube mic pre, a compressor and an audio interface. All this with two channels and all crammed into one little box.

SOUND AND TONE: ART always offers great tone from their microphone preamps with clear digital conversion as an added bonus.

PLAYABILITY: There is a lot going on with this unit, you can operate it simply, but you can also delve into all the controls and really change your tone before it gets to tape.

CONSTRUCTION: Put simply, this unit is built like a brick. It will work as a studio tool, but could happily be run on a messy stage for live recording. It will take just about any punishment you throw at it.

OVERALL: There are few boxes out there that offer so much in such a compact design. The ART USB Dual Tube Pre is very handy tool that should fi nd its way into every engineer’s kit.

RECOMMENDED FOR: Ukulele dabblers as well as folk and bluegrass lifers looking for something that sounds a little bit different to the average ukulele.

SOUND AND TONE: This thing is loud! At fi rst it’s kind of shocking how loud it is compared to other ukes. But once you get used to it it’s a lot of fun to shoot riffs clear across the room with volume, projection and tone.

USABILITY: The tone is distinctive enough to be a featured instrument, and the playability defi nitely supports that. It has a very comfortable neck which will sustain long playing sessions with ease.

CONSTRUCTION: It feels very well-crafted, with a nice neck, good fretwork and just an overall feeling of quality. It could have felt like a fl imsy toy but instead it has the vibe of a serious instrument.

OVERALL: A slightly quirky offering by some players’ standards, and that works in its favour. A really fun, addictive little instrument whether you’re a regular ukulele player or an occasional strummer.

DISTRIBUTOR: RODE MICROPHONES

DISTRIBUTOR: MAJOR MUSIC

DISTRIBUTOR: NATIONAL AUDIO SYSTEMS






RODE M1 HANDHELD DYNAMIC MICROPHONE

ELECTRIX EBOX 44 INTERFACE

YOU ROCK MIDI GUITAR

SX EG1K ELECTRIC GUITAR PACK

BLUE MIKEY DIGITAL IPHONE MICROPHONE

RODE M3 CONDENSER MICROPHONE

ART USB DUAL TUBE PRE

MARTINEZ BANJO UKE MBU-1-NST

RRP: $199

RRP: $119

RRP: $299

RRP: $279

RRP: $139

RRP: $240

RRP: $199

RRP: $399


��

facebook.com/DrumCraft.Australia facebook.com/SABIANCymbalsAustralia

Available from Australia’s leading Drum retailers:

DrumCraft Series 4 Kit with SABIAN B8 Performance Set

DrumCraft Series 4 off ers an inspiring instrument that will keep you focused on the fun of playing drums. Don’t think about quality and features – we’ve already done this for you.

Combined with the SABIAN B8 Performance Set, cymbals with excellent balance and responsiveness so every thing you need is right there.

drumcraftdirect.com.au

$999 Save $539

RECOMMENDED FOR: Beginner to intermediate rockers, or semi-pros looking for a decent axe on a budget to upgrade or as a backup or ‘around-the-house’ guitar.

SOUND AND TONE: The stock pickups are a little warmer-sounding than you might expect, which makes them good for heavy rock rhythm and blues lead, but a pickup upgrade will take advantage of the impressive unplugged tone.

USABILITY: This is a very playable little axe, and it certainly feels reminiscent of the Ernie Ball Music Man model that inspired it.

CONSTRUCTION: Although these models come in at a very wallet-friendly price, the construction quality is a lot higher than you might expect for the cash. Defi nitely the kind of guitar you can begin learning on and then keep throughout your playing life.

OVERALL: A really great beginner’s axe which captures the general feel and vibe of Ernie Ball Music Man instruments. But also a worthy instrument for more experienced players too.

RECOMMENDED FOR: Rock, metal, Classic Rock, stoner rock, blues-rock... generally heavier styles.

SOUND AND TONE: This guitar has a naturally dark tonality so it’s not suited for everything. It’s pretty narrow in its sonic scope, but the sounds that it does produce are quite useful. The darker voicing makes it great for really fi lling out a mix without overpowering vocals. And the neck pickup sounds quite vocal and juicy.

USABILITY: It’s heavy, it’s awkward and you’re probably going to ding and scratch it within the fi rst week of owning it if you’re not careful, but that’s part and parcel of owning a guitar with such an angular shape.

CONSTRUCTION: The fret ends feel a bit rough and it’s quite neck-heavy, but playability is good and everything is where it should be.

OVERALL: It’s not for everyone, but if your heavy music tastes lean more towards stuff produced in the 1970s and you get your gain from overdriven power tubes or a pissed off fuzz box, you should check this out.

RECOMMENDED FOR: Beginners, amateurs, players looking at their fi rst electric guitar.

SOUND AND TONE: The Raptor Plus EX guitar is one of Peavey’s takes on that classic shape and it feels good with a comfy medium neck and contoured body. As a guitar you can cover classic type tones thanks to the two single coils and bridge humbucker with the Peavey Transtube Backstage amp giving you clean and overdriven tones.

USABILITY: Peavey have put together a good starter type package here with the Raptor Electric Guitar, Backstage amp, gigbag, strap, tuner, spare strings, lead, plectrums and a DVD. Everything is self explanatory and made for ease of use.

CONSTRUCTION: Although fi rmly set for the starter/beginner/introductory market it should last and carries the Peavey name proudly for a solid product in general.

OVERALL: A great introduction pack for those wanting to get into the electric guitar, taking most of the decision work regarding amps, accessories and the like out of the equation. All at a decent price with the Peavey name to stand behind it you can’t go wrong with the Peavey Raptor Stage Pack.

RECOMMENDED FOR: Hard rockers, blues-rockers and even country players. It has a history which dates back to a certain famed virtuoso, but is versatile enough for a wide range of players.

SOUND AND TONE: The humbucker tones are perfectly usable and the Ernie Ball Music Man Axis model this is based on lends itself very well to single coil tones. Really enjoying the depth of tone on this one

USABILITY: The maple neck features an asymmetrical carve which is more rounded on the bass side, sloping down on the treble side, which orients the fretting hand more ergonomically. Very clever. The non-locking two-point fulcrum vibrato bridge stays in tune surprisingly well.

CONSTRUCTION: Their are a few minor things I’d like to see improved with regards to the fret ends needing a better fi le and the tone pots being a little sticky, but for the money and the intended market it’s quite a bargain.

OVERALL: This guitar doesn’t claim to be a $1200 or $3500 instrument but it defi nitely punches above its weight. It will make one damn fi ne fi rst instrument for beginners and a great platform for new pickups down the road.





STERLING BY MUSIC MAN SUB SILO 3

VINTAGE VXP6BK

PEAVEY RAPTOR STAGE PACK

STERLING BY MUSIC MAN SUB AX3

RRP: $395

RRP: $499

RRP: $349

RRP: $495


RECOMMENDED FOR: Perfect for use when you want accurate capo style performance from a pedal that won’t pull your strings out of tune.

SOUND AND TONE: The Capo pedal tracks instantly once initiated, giving you precise pitch adjustment to the desired increment.

PLAYABILITY: So simple to use. Just select the amount you want to shift the tuning with one button, and then turn it on with the next. There is also a non latching button to allow you to drop the pedal in and out of your signal chain for shifting individual notes or phrases.

CONSTRUCTION: A solid, low profi le build with silent switches that feel great under the tap of a toe. A large frame makes it easy to read the display and keep the three buttons well apart.

OVERALL: This is a great pedal all round. It actually does the job of a capo in an instant and with better results. But, at low volumes, it can be disconcerting when you actually hear your guitar at regular pitch and the amplifi ed sound pitch shifted. So, turn it up!

RECOMMENDED FOR: Pretty much anyone except extreme death metal bands. Blackstar amps are typically very fl exible and this one is no different.

SOUND AND TONE: Snappy country tones, smooth jazz, gritty blues, screaming hard rock and even heavy-hitting metal. It doesn’t sound like a top-dollar boutique amp, but it certainly packs a punch for the price and wattage.

USABILITY: Crazy simple to use. Pick a channel, set the Gain control to taste, dial in the EQ via the patented ISF control and rock. And the speaker emulated output means it’s great for silent recording at home too.

CONSTRUCTION: It’s lightweight and feels reasonably strong. The compact size means you might accidentally bump one knob while turning another, so just be extra-careful there.

OVERALL: A great all-rounder for home use or even small gigs, whether you play blues, country, jazz, rock or most metal genres.

RECOMMENDED FOR: Rehearsal, home, school. Players needing a larger practice amp or smallish rig with 15” speaker for extended bass response.

SOUND AND TONE: Clean and fat this All Access Amp from Ashdown sounds darn good for something that’s considered to be part of the ‘practice amp’ gang. The Five Fifteen benefi ts from the single 15” speaker for some extra clarity and low end response handling 5 string and lower tunings.

USABILITY: Perfect for home or small rehearsals the Five Fifteen features Ashdown’s retro styled EQ controls with a combination of typical control knobs and sliders for extra tweaking. These really add to your options and only take a few minutes of trialling to get sorted. CONSTRUCTION: Tough looking and tough feeling the Five Fifteen is the fi rst step in the All Access range that really makes the jump from practice amp vibe to something more serious. Steel corners, dark grille and white piping and solid handle make for looks and brawn. OVERALL: A jump up in power for the All Access practice amps the Five Fifteen gives you 100 watts in a combo with a 15” speaker. More guts, still quite portable and a good, solid tone.

RECOMMENDED FOR: Acoustic guitarists, singer/songwriters, duos, cafe musicians and buskers.

SOUND AND TONE: The AGA 30 will give you anything from a smooth, mellow jazz-like voicing to a much more aggressive and driving country or rock sound. Because there are two channels you can set the both for very different sounds, and you can really tailor the amp’s response to the individual instrument.

USABILITY: With two channels (one of which is tube-driven) you can amplify guitar and voice at the same time, or use a mic and a direct signal from the guitar at the same time. And the effects are simple to use.

CONSTRUCTION: Feels a little plastic but not enough to be seriously concerned about.

OVERALL: A great little acoustic amp for a huge variety of players in a huge variety of applications.

RECOMMENDED FOR: Beginner to intimidate drummers that need a good price point but some half decent cymbals. These have the prerequisites and that name!SOUND AND TONE: These Paiste’s have full tone and project well. The crash speaks well but needs a fair whack to get going due to its thickness. This is followed by a fairly rapid decay. The ride is a bit of a beast with a very pronounced bell and a lot of stick defi nition on the wash. The hi-hats are crisp and full.

USABILITY: Not to beat around the bush, these are aimed to be beginner cymbals but in the market segment, they will prove to be good sellers. The hi-hats are especially usable with a nice chick, particularly when played with the foot. The wash will suit a load of styles of music and they blend well with the crash and ride. CONSTRUCTION: The cymbals are made of Paiste’s CuSn8 Bronze alloy and certainly look the part. The 20” ride is thick with a medium bell, the 16” crash is again on the thicker side and the 14” hi-hats have a super thick bottom and relatively thin top. They feature a brilliant fi nish and some unique hammerings. OVERALL: These Paiste’s won’t win awards against the top cymbals but for anyone getting in the game, they’d be great. For me, the hats are the winner of the trio as the ride and crash have a slight ‘gong’ undertone, but even then, add some screaming guitars - you won’t hear it and you’ll be happy with the projection.

RECOMMENDED FOR: Beginners, weekend warriors, those on a budget and guitar players who need a bass for the occasional homemade track but wish to save their cash for more six-strings.

SOUND AND TONE: This bass already sounds really nice when you play it unplugged, and this natural tone comes across loud and clear through an amp. It sounds natural and full, and the bass and treble boost/cut pots give it the fl exibility to go from rock to funk to R&B to dub easily.

USABILITY: Playability was exceptional, which isn’t always easy to achieve on an entry-level bass.

CONSTRUCTION: The fret ends are fi nished surprisingly well - much better than you’d expect at this price. This certainly helps with the playability and the overall fi nish was superb. OVERALL: The S.U.B. Ray4 is a far better bass than you would expect at this price range, especially in playability and construction. The sounds too, are better than you could honestly expect at this price. Top Job!

RECOMMENDED FOR: Home, practice, small rehearsal, beginners, amateurs, bedroom enthusiasts, studio.

SOUND AND TONE: 20 watts, clean and dirty channels and reverb let you go from clean and sparkly to smokey overdrive and darker full gain tones. Both channels have independent EQs meaning you can tweak each to your liking without compromise.

USABILITY: Could sit in a range of styles and although only 20 watts, it will work at smaller rehearsals as well as home practice. Line in/outs give you extra fl exibility for jamming along with tunes, sending to recording devices/mixers and a headphone out for no noise practice. CONSTRUCTION: Designed and engineered in the UK and assembled offshore the HGT-P2008 feels tough and solid.

OVERALL: The 2x8 setup of the HGT-P2008 is a cool take on the smaller wattage guitar combo and with two channels you can cover a few bases. Still a smallish cabinet you’ll have no problems throwing it in the car or moving it around the house. Another cool design from Hayden that could fi t into a few different musical situations.

RECOMMENDED FOR: Home players, small rehearsals, schools, anyone after a portable combo with a little extra oomph.

SOUND AND TONE: The 10” speaker gives you that added depth and range for a tight, defi ned tone. Plenty of volume available here and will defi nitely do the job at home or school as a practice amp and still compete for smaller rehearsals.

USABILITY: Will suit a range of settings and is straight forward when tweaking your tone. The added tube emulation means you can also get a little gnarly for even more variation. Like its little brother you again get Line In and Headphone Out, meaning you can practice quietly and jam along to your favourite tracks.

CONSTRUCTION: The over sized cab feels tough and the steel corners, rubber feet and construction give the heavy duty vibe.

OVERALL: Taken off where the After 8 left off the Perfect 10 ups the ante thanks to its 10” speaker and extra wattage. If you want something still portable and handy but need some extra headroom, the Perfect 10 may well be the go.





DISTRIBUTOR: YAMAHA MUSIC




MORPHEUS CAPO PEDAL

BLACKSTAR HT-1 ELECTRIC GUITAR COMBO

ASHDOWN FIVE FIFTEEN BASS COMBO

VOX AGA 30

PAISTE PST5 CYMBAL PACK

SUB RAY-4WS BASS GUITAR

HAYDEN HGT-P2008 ELECTRIC GUITAR COMBO

ASHDOWN PERFECT 10 BASS COMBO

RRP: $299

RRP: $299

RRP: $499.99

RRP: $349.99

RRP: $399

RRP: $495

RRP: $419.99

RRP: $299.99


RECOMMENDED FOR: Primarily guitarists who need to shift between different lowered tunings (or even higher ones, especially if they’re starting out low-tuned).

SOUND AND TONE: Drop the pitch by a second, fourth, fi fth, octave, or two octaves, or up a second, fi fth, octave or two. There are some audible artifacts if you’re playing unaccompanied, but nothing deal-breaking.

USABILITY: Very simple to use. There’s a footswitch for mode select, another for effect on/off and an expression pedal for shifty effects. Handy input trim pot too.

CONSTRUCTION: An extremely roadworthy pedal that lives up to its name and is thoughtfully laid out.

OVERALL: A great way of experimenting with lowered and raised tunings without hassle, which makes it great for live guitarists or experimentalists who want to explore new musical horizons by exploiting the expression pedal to its furthest degrees.

RECOMMENDED FOR: The perfect addition to any vocalist’s live setup, giving the singer direct control over the effects on their voice, rather than leaving it up to the engineer to decide when to turn them on or off.

SOUND AND TONE: For subtle reverb and delay, the Mic Mechanic sounds great. The voice correction feature tames your pitch slightly and the tone button adds some warm EQ, compression and de-essing control that make your vocals jump out.

PLAYABILITY: This is so easy to set up. Once in place, the one and off feature can be engaged by pressing the pedal or even controlled by a button on the microphone if using TC Helicon’s MP-75 vocal microphone.

CONSTRUCTION: This pedal is built tough. It is ready for the rigours of live use with a soft touch button that is quick and easy to engage.

OVERALL: The Mic Mechanic is the simple option to quality vocal effects that has been lacking for so long. It isn’t complicated, nor does it need to be, it just does the job and does it well.

RECOMMENDED FOR: Live and studio guys. Players wanting a fl exible delay with the ability to save presets.

SOUND AND TONE: As a whole I reckon the Flashback x 4 sounds great. I particularly liked the Tape, 2290 and Analog settings and found all of the Delay types pretty cool in their own right. With slaps and slight echo through to spacey, warbled goodness and ambient smudge you can work the Flashback x 4 as little or heavy into your sound as you like. Plus you get Tap Tempo, presets, Midi and a heap more.

USABILITY: I love the fact that this little blue box can be set really simply as a few different delays with a Tap Tempo almost instantly for those that don’t need anything too righteous and with minimal programming. Conversely you can then link it to Midi to sync with various units/songs/other effects, control with an expression pedal, run in stereo, run as a looper and get as nitty and gritty as you can conjure up - killer!

CONSTRUCTION: Feels tough under the foot and looks the goods. OVERALL: You need to check it out for yourself but just know that TC make good gear and they’re on the money with the Flashback x 4 and a thumbs up to the Toneprint concept too!

RECOMMENDED FOR: Anyone who doesn’t mind rolling up their sleeves and getting into the particulars of their delay sound. Set-and-forget players might dig it too, but tweakers will get the most out of it.

SOUND AND TONE: Way too many sounds to go into here, but there’s all of your digital and analogue classics as well as some unusual modulated delays and Distortion Delay, and a very handy stereo looping function with a high level of control.

USABILITY: There are 30 delay types but they’re easy to access, and you can dip into even more parameter control with an optional expression pedal.

CONSTRUCTION: It looks a little plastic, almost like it’s made of bakelite, but doesn’t really feel like it. Everything’s laid out thoughtfully and it doesn’t take up too much pedalboard space, all things considered.

OVERALL: A very useful, versatile delay pedal with some great tricks and stunts up its sleeve for those who want to explore them. You probably won’t use every feature or mode but it’s nice to have them there when you want them anyway.


DISTRIBUTOR: AMBER TECHNOLOGYDISTRIBUTOR: AMBER TECHNOLOGY


MORPHEUS BOMBER EFFECTS PEDAL

TC HELICON MIC MECHANIC VOCAL EFFECTS PEDALTC ELECTRONIC FLASHBACK X4 DELAY PEDAL

VOX DELAYLAB GUITAR EFFECTS PEDAL RRP: $359

RRP: $269RRP: $449.99

RRP: $349.99


RECOMMENDED FOR: These little monitors will fi t into just about any home studio setup, no matter how much space you have. Their compact design is perfect for use with laptop based recording systems.

SOUND AND TONE: The Studio GTs give you a clear reproduction of your sound. They suffer from a lack of bottom end, not being very fl at, but this is the trade off for the size of the system.

PLAYABILITY: Unbelievably easy to setup. No audio interface is needed as they connect via USB to your computer for direct audio playback monitoring.

CONSTRUCTION: The Studio GTs are built into a sturdy, compact shell that sits solidly on just about any surface, with an easy cable run to minimise clutter on your desktop.

OVERALL: These monitors make hearing your recordings so simple. You don’t need an additional interface and they are quick and easy to install. Running from a USB audio connection, you don’t even need to worry about unbalanced cable issues causing interference in your audio signal.

RECOMMENDED FOR: Perfect for DJs and small bands or acoustic duos looking for a big sound without the attached price tag or weight to lug around.

SOUND AND TONE: These speakers have a big PA sound. They don’t have that hi-fi tone that you get from small portable PA speakers, but a full range with a lot of bottom end without the need for additional subs.

PLAYABILITY: Setup of the D412S is pretty simple. The operate best with a small mixer running into them at line level to give you more control over you sound, but can be used as a pre-amp and power-amp combination too.

CONSTRUCTION: Being a plastic box, you get a very portable speaker cabinet that doesn’t weigh too much. That said, they are still very solidly built, ready for the rigours of live use, week in, week out.

OVERALL: In a market that is fl ooded with powered PA bins, the D412S cabinets give you a reliable unit that sounds pretty good. But best of all, it doesn’t come with an overwhelming weight or cost.

RECOMMENDED FOR: This is the perfect starting point for anyone wanting to set up a home studio from scratch. All you need is a computer and some creativity to go with the Audiobox Studio and you are on your way.

SOUND AND TONE: Quality microphone preamps and digital conversion are combined with a condenser microphone to take care of vocal and instrument recording in the home studio.

PLAYABILITY: With the included Studio One software, it doesn’t take long to get your head around the recording process. A simple to learn package, but one that offers plenty sonic capabilities.

CONSTRUCTION: The Audiobox unit is, like all Presonus hardware, built to last. A sturdy casing with solid connections and controls.

OVERALL: This is a great package. Headphones, condenser microphone, interface and software all in one box. It serves as an upgrade to many existing setups, or the perfect starting point for a new recording concept.

RECOMMENDED FOR: Fingerpickers, arpeggiators, folkies, and one-person orchestras.

SOUND AND TONE: Unplugged, the FKV has a quite midrange-heavy, treble-attenuated tone which makes it a good all-rounder and an especially good solo instrument. Plugged in, the treble can be restored and the mids can be reigned back for more of a dreadnaught-like sound. But the natural character of the guitar remains.

USABILITY: This guitar has great fretwork and it comes straight out of the box with very playable low-medium action, which invites you to wander all over the neck.

CONSTRUCTION: A solid Engelmann Spruce top and solid Mahogany back and sides. The body and neck are all fi nished in a two-stage satin which keeps costs down and seems quite durable. It also allows the woods to resonate more freely than a thick fi nish would. Really nice!

OVERALL: A great option for those who like to get into the fi ner details when they play: walking basslines, on-the-fl y harmonies, harmonics and arpeggios.

RECOMMENDED FOR: Travellers, home players, those who need to play guitar in a busy household, and anyone who likes instruments that are a little quirky.

SOUND AND TONE: It doesn’t sound like micing up a perfectly-constructed dreadnaught but this Silent Guitar actually sounds really freaking good when plugged in. It’s recording-ready and most defi nitely great for headphone jamming. Nice ambient effects too.

USABILITY: Though primarily marketed as a silent guitar for home use, it’s much more than that, and is quite capable of holding its own on stage. And of course it’s extremely portable too.

CONSTRUCTION: It feels like a full-sized guitar, and part of the illusion is in the removable side pieces, which are held under tension to give the impression of an acoustic instrument vibrating naturally.

OVERALL: A surprisingly great guitar that will keep family members happy while also providing some killer tones whether in the bedroom, studio, stage or in a hotel room.

RECOMMENDED FOR: Ideal for cover bands, down-tuners, and budget-conscious folks who need multiple tunings without the cost of multiple axes.

SOUND AND TONE: The versatility you have here is off the chart as the guitar uses autotune technology to keep intonation perfect and to provide alternate and dropped tunings in an instant. The tone is a little too polite for full-on metal, but great for softer styles that require a warmer, smoother voice.

USABILITY: The autotune mechanism is a bit fi ddly - you assign different tunings by barring the strings or fretting odd chord shapes then strumming, which resets the ‘open string’ pitches. But once you’ve got it nailed it’s very easy to use. And if the battery goes fl at, the passive pickups kick in.

CONSTRUCTION: Construction quality is good, the only qualm you might fi nd would be the fact that in terms of it’s visual aesthetics it doesn’t have much individual character, but this is because it’s a workhorse not a show pony.

OVERALL: A huge leap forward for self-tuning technology, great news for overdubbers and an unstoppable tool for working guitarists in cover, wedding and corporate bands.

RECOMMENDED FOR: Live, studio, beginner, amateur, pro or anyone looking for an acoustic bass with A pickup that won’t break the bank. SOUND AND TONE: Big and bold the TRBC-4SB defi nitely isn’t lacking in guts! Thanks to the body design you get a beautiful clear tone when played acoustically and the ability to amplify thanks to B-Band A3T electronics.

USABILITY: Plays a treat and easy to get your hands around. The acoustic bass is something that isn’t always used but defi nitely fi lls a void in the bass arsenal and fi ts the bill when needed.

CONSTRUCTION: Nice attention to detail, good intonation and setup straight out of the case - a solid bass all round.

OVERALL: Always wanted an acoustic bass in your collection but couldn’t justify big bucks? Well, this new Timberidge model might just be the ticket. A great sounding player, this could work for anyone from the beginner through to pro and has the looks and sound to back it up.

RECOMMENDED FOR: The HS80Ms bridge the gap between professional studio and home studio, with a classic Yamaha look and bi-amplifi ed power section for use when you want quality studio monitoring on a budget.

SOUND AND TONE: These monitors have the ability to be adjusted to suit the room they are situated in with mid, high and low ranges adjustable on the rear panel to ensure they sit fl at in your playback.

PLAYABILITY: Being powered monitors, you only need to run audio levels into these speakers and allow the internal crossover to handle the distribution. With the large 8 inch drivers, you really don’t need a sub to compliment these monitors.

CONSTRUCTION: As with anything Yamaha, the HS80Ms are built to a high quality. The cabinet is fi rmly constructed and sits solid on your desktop to reduce unwanted vibration when in use.

OVERALL: These are a great near/mid fi eld monitor for the home studio. The rear porting commands they be situated out from a wall slightly, but this does offer plenty of volume to allow you to fi nd the right listening level.









SAMSON STUDIO GT MONITORS

SAMSON AURO D412S PA

PRESONUS AUDIOBOX STUDIO PACKAGE

FAITH GUITAR FKV VENUS NAKED ACOUSTIC GUITAR

YAMAHA SLG110S ACOUSTIC GUITAR

PEAVEY AT-200 ELECTRIC GUITAR

TIMBERIDGE ACOUSTIC BASS TRBC-4SB

YAMAHA HS80M MONITOR SPEAKERS

RRP: $374

RRP: $474

RRP: $299

RRP: $799

RRP: $899.99

RRP: $899

RRP: $699

RRP: $399


RECOMMENDED FOR: It’s similar to the hand-wired 20 watt Custom, so think Classic Rock, punch, clarity and fullness.

SOUND AND TONE: The cleans are suitable for everything from smooth jazz to jangly indie and roots rock. It can be made to break up in that classic Pete Townshend way, and is a great platform for effect pedals. The overdrive channel is capable of quite a lot of gain but it sounds best at around 9 o’clock, where it sounds creamy and smooth. Higher settings bring on an almost fuzz pedal-like quality which is also a lot of fun.

USABILITY: The T20 is much more versatile than it looks, although it’s defi nitely most comfortable around the Classic Rock genre. You can get stoner metal tones out of it pretty easily, but it’s not a metal amp.

CONSTRUCTION: A very sturdy amp which does indeed feel quite a lot like the higher-priced Hiwatts.

OVERALL: The T20 is not the be-all and end-all of Hiwatts, but it does its stated job of introducing Hiwatt virgins to the overall vibe of the brand admirably well. It’s loud enough for stage use and fl exible enough for most styles.

RECOMMENDED FOR: Amateur through to Pro players after a 4 string with a modernish vibe.

SOUND AND TONE: Fat and punchy thanks to the Spector TonePump Jr electronics you can go from round, old school thumping tones to tighter modern sounds. Thick, clear mids really get your sound heard in the mix and I could see the Legend 4 Classic working in a range of musical settings.

USABILITY: Feels great and the deeper cutaways let you zip around the neck right up to the 24th fret with ease. Spector’s pickup/electronics choice add some extra grunt to your tonal palette too.

CONSTRUCTION: Killer fi nish, good intonation and setup straight out of the box. Despite the Legend 4 Classic coming from more of the mid level entry level of instruments the workmanship and construction is top notch.

OVERALL: A great option for players looking for something a little different in looks and tone that can still handle old school sounds. Killer price for an instrument with the Spector name and build quality too!

RECOMMENDED FOR: Guitarists. There’s no better way to say it other than this amp is ideal for anyone who plays guitar.

SOUND AND TONE: Ridiculously, almost offensively versatile. There’s nothing it can’t do, and that even includes some pretty aggressive metal tones. The 6V6 power tubes give a punchy, powerful articulation to whatever you play, whether it’s country, jazz, blues, rock, metal, indie, stoner, grunge - whatever you throw at it.

USABILITY: It can take a while to wrap your head around the various additional switches, so don’t forget to stop experimenting and start playing once in a while.

CONSTRUCTION: A very classy-looking and quite roadworthy-feeling amp and matching cabinet. Everything’s laid out logically and it’s small enough to carry in the front seat.

OVERALL: A brilliant little amp. It does a little bit of everything exceedingly well. Its various tones may not all be as distinctive as dedicated one-sound amps, but it can get you close enough to so many tones that it earns the right to be your only amp if you need a whole bunch of quality sounds fast and on a budget.

RECOMMENDED FOR: Home, practice, rehearsal, small gigs. Those looking for a little extra oomph than a practice amp without jumping into the big leagues.

SOUND AND TONE: Based on the Five Fifteen combo the head and cab setup gives you 100 watts through a 2 x 10 speaker box. Bass, Middle and Treble EQ controls are accompanied by sliders for targeting specifi c frequencies - handy for some extra notching and work nicely in conjunction with the standard controls.

USABILITY: A good mix of tones from round and grindy through to clean and a little more hi-fi . The 2 x 10 cab comes into play for adding some extra spread and means this little rig can do the home thing as well as rehearsals and small gigs.

CONSTRUCTION: Solid and leaning more towards the pro/heavy duty end of things as opposed to a practice amp.

OVERALL: An interesting setup I could see the Mini Rig being a winner for home jamming and practicing but also having that little bit of extra grunt for rehearsing and smaller gigs. The head and cab vibe feels a little more pro but is still portable. A cool take on the mini rig.





HIWATT T20 ELECTRIC GUITAR COMBO

SPECTOR LEGEND 4 CLASSIC BASS

EGNATER TWEAKER WITH 112 CAB

ASHDOWN FIVE FIFTEEN MINI RIG

RRP: $695

RRP: $999.99

RRP: $850

RRP: $599.99

By the end of 2014, all analogue TV transmitters will be turned off andall digital TV transmitters will have changed frequency.

The band between 694 MHz and 820 MHz will be cleared of all users so it can be used for mobile data services.

Check your wireless microphone systems now ! If they operate between 694 MHz and 820 MHz you need to start planning to operate between 520 MHz and 694 MHz before the end of 2014.

Are your wireless mics ready for the Digital Dividend ?

OURS ARE !

ddready.com.au

Make certain your systems are ready!

visit

for more information


RECOMMENDED FOR: Studio, live, amateurs through to pros wanting a multi-channel switching combo to cover a range of tones.

SOUND AND TONE: Fat cleans, semi broken over drive and saturated distortion plus the option to operate the amp at 3 watts or 20 watts which is awesome. Hints of British crunch and broken tones and defi nite US styled cleans and lead tones should cater for many players. The onboard digital reverb is subtle and tasteful too.

USABILITY: A little playing around and you’ll have the swing of things with channel switching either via the amp push buttons or foot switch. Channel and Master volumes mean you can set different levels for solos and boosting.

CONSTRUCTION: Feels and looks tough with a rugged black covering and handle being up for plenty of gigging. Hayden incorporate the same philosophies of design and production in these amps as they do in their UK handmade models for a solid amp at a reasonable price point.

OVERALL: Hayden have been kicking it up a notch of late with some new models and designs and the HGT-A20 really is a cracking amp with usable features, plenty of juice and a decent range of tones.

RECOMMENDED FOR: This is ideal for guitarists who also sing, like in acoustic duos, who need backing vocal harmonies and guitar effects all crammed into one tidy pedal.

SOUND AND TONE: Being TC Helicon, you can expect very high quality effects, especially with the new updates to the system. The vocal harmonies are spot on too, they sound like there are additional vocalists on stage.

PLAYABILITY: This unit is so easy to operate. It reads the note information from you guitar and sets the vocal harmonies to work with the last note played from the guitar. Plus, the addition of guitar amp modelling means you can run straight into the PA without the need to lug around an amp.

CONSTRUCTION: The unit itself is built really well. The buttons all feel like they will go on and on and the inbuilt reference microphones are recessed to stop any unwanted damage.

OVERALL: This is the perfect accompaniment to any singer/guitarist. It brings your guitar to life and makes your vocals jump out like you had backing vocalists on stage to help.

RECOMMENDED FOR: Studio, live, amateurs through to pros wanting a multi-channel switching combo to cover a range of tones.

SOUND AND TONE: Again working on the 3 channel setup this 40 watter has a dedicated clean channel that can be anywhere from grimy through to sparkly and bright. Channels 2 and 3 share the same EQ but with independent Volume and Gain controls for setting as dirty/clean/saturated making this super appealing.

USABILITY: A really good variety of tones can be pulled here for a range of styles such as blues, rock, country, funk and heavier if desired. The advantage of including 3 channels really add to its usability and fl exibility here and will ensure many players will love this model.

CONSTRUCTION: Well made, heavy duty with a tough exterior, this is built like a tank and will tour easily.

OVERALL: The bigger brother to the 20 watter you get some extra clean headroom and overall volume with this 40 watt Hayden but still with the ability to drop it to 3 watts for quieter settings, recording and the like (where you want juicy tone without the louder volume levels). A very cool offering!

RECOMMENDED FOR: The NT2A offers the user more options than many other microphones in this price range and now includes a pop fi lter, cable, suspension cradle and cover at no extra charge.

SOUND AND TONE: This microphone allows you to sculpt the sound you are looking for in your sound source. The selectable polar patterns allow for fi gure-of-8, cardioid or omni use of this microphone.

PLAYABILITY: With a three part low pas fi lter and two separate levels of pad settings, it is easy to set this microphone up to work with a variety of sound sources, even high SPL recordings, like guitar amps.

CONSTRUCTION: The construction from this Australian made microphone is brilliant for the price. The switches are all very sturdy and the nickel casing is very rugged. You shouldn’t have any issues with the build of this microphone for studio use at all.

OVERALL: This is probably my favourite microphone from Rode’s selection of studio condenser microphones. It has a stylish design and a well rounded sound that makes it very usable for a variety of applications.

RECOMMENDED FOR: Pros, semi pros, amateurs, those after a high quality head that don’t need massive wattage. SOUND AND TONE: The LM250 sounds killer. Gain and Master Vol controls let you go from super clean to grindy and the EQ range is enhanced with MarkBass’ patented VLE and VPF fi lters for extra tone shaping (Vintage Loudspeaker Emulator and Variable Pre-shape Filter).

USABILITY: At 250 watts it’ll handle rehearsals and small gigs easily. As a smallish unit in size and weight you can take it anywhere. You then have Line Out and Pre/Post EQ capabilities for sending to a desk or recording for more fl exibility.

CONSTRUCTION: Bullet proof. Tough casing, super MarkBass quality testing and production means you are buying a serious amp that will last.

OVERALL: Classic MarkBass tone in a slightly lower wattage amp that’ll still handle a range of gigs and musical settings. Distinctive MarkBass looks and features that really work plus the peace of mind that this brand is built to last. Killer little amp!

RECOMMENDED FOR: The perfect home studio upgrade when you want a quality condenser microphone with all the required accessories. The pop fi lter, cable, suspension cradle and cover are all included.

SOUND AND TONE: The NT1A defi nitely has its own tone. It has a crisp top end and a subtly round lower mid range that works well for vocals.

PLAYABILITY: With everything included, even a cover so you can leave it set up ready to record in your home studio; the NT1A makes it easy to pull a great sound time and time again. It just requires some experimenting to get the right position for each sound source.

CONSTRUCTION: Made in Australia, the NT1A has been put together to last it’s longer than normal warranty period. This is a microphone that should outlast most of the gear in your studio.

OVERALL: There is a reason why this is the most popular studio microphone the world over. You simply do not get a studio condenser microphone of this quality from anyone else in this price range.

RECOMMENDED FOR: Beginner/Intermediate level players, hobbyists or anyone looking for a reliable electronic kit for practice and light gigging.

SOUND AND TONE: This latest offering from D-Tronic offers value for money and some welcome features at this price point. The built-in kits aren’t exactly life changing samples but really, are quite passable and with the adjustment available, will please the player.

USABILITY: The Q2 comes preset with 177 voices, 25 different kits, fi ve customisable user kits, 30 song styles and two demo songs. Add a tap-tempo metronome (with eight time signatures), real time recording with live playback, reverb and chorus effects and the ability to adjust sensitivity, threshold, velocity and cross-talk controls of each of the pads and you have a kit that backs itself.

CONSTRUCTION: The Q2 comes on a pre-assembled rack with one 8” dual zone snare pad, three 8” natural rebound tom pads, two 10” round cymbals and one 10” round hi-hat. It also features a hi-hat controller and bass drum pedal controller.

OVERALL: For the coin, the D2 is a great starter kit for the beginner/intermediate requiring a sturdy, reliable kit for practice. Headphone input, stereo master ¼” output, auxiliary input for MP3/CD play along and a USB port seals the deal. The D-Tronic even comes with a drum throne, headphones, drumsticks and stick bag!

RECOMMENDED FOR: This is a great mixer for small project studio set-ups or for live environments when you need a fully featured mixer with effects in a compact design.

SOUND AND TONE: Like any Allen & Heath console, the mix bus is of an excellent quality, giving you quiet channel summing and great sounding microphone preamps.

PLAYABILITY: This is really easy to set up. You can run four microphones and two stereo line inputs with plenty of routing options including effects sends to an in built digital effects unit and a USB output for recording set-ups.

CONSTRUCTION: The mixer is no cheap toy. It is built to an exacting standard like all Allen & Heath mixers and just feels good under your fi ngertips. The faders move smoothly, the pots have a good rotation and all the buttons are fi rm yet easy to engage.

OVERALL: I can see a lot of small home studio set-ups benefi ting from a little mixer like this. At the same time, I know a lot of musicians who are always looking for a small mixer for use with a portable PA that meets their needs. This could well be the one.








DISTRIBUTOR: TAG

HAYDEN HGA20 ELECTRIC GUITAR COMBO

TC HELICON VOICEPLAY GTX EFFECTS PEDAL

HAYDEN HGA40 ELECTRIC GUITAR COMBO

RODE NT2A STUDIO CONDENSER MICROPHONE

MARKBASS LITTLE MARK 250 HEAD

RODE NT1A STUDIO CONDENSER MICROPHONE

D-TRONIC Q2P ELECTRONIC DRUM KIT

ALLEN & HEATH ZED 60-10FX MIXER

RRP: $899.99

RRP: $569

RRP: $999.99

RRP: $940

RRP: $950

RRP: $520

RRP: $549

RRP: $599


DISTRIBUTOR: JANDS

RRP: $145

PHONE: (02) 9582 0909

WEBSITE: www.jands.com.au

SHURE SE215 SOUND ISOLATING EARPHONES

With more and more musicians turning to in ear monitoring on stages these days, there are a lot of systems out there that let themselves down with poor quality ear buds that really do not suit the intended purpose. That is why I see more people turning to Shure ear buds for a better fi t, a more discreet placement and the sound quality that you want when you’re on stage. The SE215 sound isolating earphones from Shure give the user just that and offer the adjustability that is needed to suit each and every artist who wants to use them.

DIRECT SOUNDThe SE215 earphones are designed to not only be comfortable and clear, but to also isolate your ears from the noise of a loud stage, so you can have control over what your hear when performing. With a selection of soft rubber and foam sleeves for the buds in different sizes, you can be assured that they fi t snugly within the ear to ensure that unwanted external sound does not get in and interfere with your monitoring signal. The various sleeves offer different amounts of sound isolation as well as a different fi t, with up to 37dB of sound isolation available, this makes the SE215 a great option for when you really need a defi ned sound in your monitor send that is not interrupted by stage noise.

CLEVER FITThe SE215 earphones have a removable cable that comes off at the buds for easy replacement if damaged, this split cable has wire inserts at the end where it connects to the buds to allow you to form fi t the cable over your ear and run them down your back. The buds themselves then sit within the ear, with the sleeves inserted for a tight fi t. This not only gives you a secure fi tting that is unlikely to fall out with usual stage use, but also ensures the ear buds go almost unnoticed, sitting snugly within the ear and having the cable run discretely down your back.

ALL IN ONEThe units come packaged with a handy carry pouch, two ear buds, the cable and a selection of foam and rubber sleeves. They are available in black or clear, giving you an even more discrete look when you don’t want your in ear monitoring system to stand out on stage. But looks and feel are not just all they offer. These earphones sound amazing. You get a tough low end when they are seated properly within the ear and the high frequency response is sharp and precise without being ear piercing. These make a great in ear monitoring bud for the price, but can also be used for personal listening to MP3 players too. Just because they are designed to work on stage, doesn’t mean their use is strictly limited to that. If you go around with earphones plugged in half the day, then why not treat yourself to a pair that is not only sleek and comfortable to wear, but a pair of earphones that will allow you to hear your music the way you want to, with full bass and top end clarity.

BY ROB GEE

On the surface, the Warwick BC 40 looks like a very straightforward, simple amp and it is. But what’s important about musical equipment is not how many knobs and lights it has, but what it actually does. In this case, Warwick has engineered the BC 40 to be a full-frequency, extended-headroom integrated combo amp for use with virtually any amplifi ed instrument, but it’s specifi cally tuned to the particular needs of upright and electric bassists. Warwick says they had several different types of bass player in mind when designing the BC 40: beginners, professionals who need a reliable practice amp at home when they’re away from their stage rig; artists who need a backstage warm-up/tune-up amp; music teachers; and those who need a small amp that can still take the heat during rehearsals.

GET AMPEDThe controls are simple: Volume, Bass, Middle and Treble. But there’s more going on under the hood than that. There are active and passive inputs (and you can plug in two instruments at the same time), auxiliary stereo input, integrated headphone amp, a 10” Warwick custom speaker and a 2” high frequency horn. The BC 40 is a Class A amplifi er, which avoids the crossover distortion problems associated with Class-

WARWICK BC 40 1X10” BASS COMBO

AB and Class B designs, and that means you can crank it up much louder than other amps of this size and still get a powerful, clear, punchy sound instead of a quaking pile of audio mung. Warwick also provides a Dynamic Distortion Limiter, a clever circuit which reads the distortion level in the power amp and begins limiting as soon as any distortion is present. And that’s not the only smart circuit tweak: the power switch is found on the bottom rear of the unit in order to maintain maximum physical separation between high and low voltage circuits within the amp, also reducing noise. And the power cable is of the detachable dual conductor ‘mini’ type, which reduces ground hum for even further noise control.

LOVING THE ALIENI tested the BC 40 with the Alien RockBass by Warwick, as well as a Gibson J-45 PureVoice Limited Edition acoustic guitar and a Fernandes Jazz Bass copy with passive DiMarzio Area J pickups. In each case it provided a clear, powerful, articulate representation of the instrument’s natural character, but with enough sound-shaping power to customise the response to the individual song or musical situation. The low end gets so thick and full that the last quarter turn of the bass knob is completely superfl uous - yet if you do push it that far, there’s no power amp distortion. The only unpleasant noise you’ll hear will be your teeth rattling loose. The high end is carefully voiced to avoid being too scratchy or buzzy, which I fi nd especially important with acoustic six-string guitars. Nobody wants that overly bright, zippy sound. But the BC 40 plays especially nicely with the Alien RockBass. These two feel like they were made for each other - and in a way they are - and no matter how far you push the Alien the amp can keep up.

The BC 40 may look like ‘just an amp with three tone controls and a volume’ but it’s much more than that. The internal limiting and the careful consideration put into low-noise circuit design conspire to create an incredibly fl exible amplifi cation system for all sorts of uses, from beginners to pros.

BY PETER HODGSON

Distributor: Dominant Music

RRP: $299

Phone: (03) 9873 4333

Website: www.dominantmusic.com.au

One of the coolest things about reviewing musical equipment is that moment when you open a box or case with no idea of what’s inside. It’s kind of like Christmas, except you have to give the present back after you’ve played with it for a while. If anyone was in the room when I unboxed the Alien RockBass by Warwick, they’d have seen me gasping like a kid at Christmas. This thing is unusual and impressive and simply cool.

THE BASS-ICSThe RockBass is a set-neck acoustic instrument designed for price-conscious musicians. It’s available in two versions - Standard and Deluxe. This is the Standard, which has a spruce top and laminated agates wood back and sides. The top has a high-polish natural fi nish while the back and sides are high polish black, and it’s very carefully executed and quite luxurious to the touch. The neck is made of mahogany with a non-slip satin fi nish, and you can see the neck tenon extending down past the sound hole on the bass side bout. The scale length is 32” medium. The fretboard is rosewood, and the nut is height adjustable - a hugely groundbreaking feature that takes the stress out of setting up an acoustic instrument. The Deluxe model has the same neck as the Standard but it has a laminated spruce top and bubinga back and sides. The Standard has a straightforward Fishman Sonitone preamp while the Alien Deluxe has a Presys preamp. The Sonitone preamp has basic controls for Volume and Tone, and it’s mounted in the sound hole. It gives you a similar range of control to the average electric bass, rather than overloading you with all sorts of tone and phase controls.

PUT THE BASS IN YOUR WALKThe sound hole and bridge are both cut in somewhat radical designs and the sound hole rosette further

ALIEN ROCKBASS BY WARWICK

Distributor: Dominant Music

RRP: $799

Phone: (03) 9873 4333

Website: www.dominantmusic.com.au

emphasises just how odd this design is. But as far as I can see, bass players aren’t typically as traditional as guitarists and I think this radical design choice will be more easily accepted by bass players. Feel-wise the Alien is somewhere between a double bass and an electric bass. The neck is incredibly comfortable, and the cutaway gives you at least some level of access to every one of the 24 frets, with super-easy access all the way up to about fret 21. Unplugged, the sound is slightly rubbery, in a good way. The high end is gently rounded off, which eliminates the buzziness that’s often prevalent in acoustic bass guitars. The string volume balance is a little uneven, requiring a bit more oomph to get the same volume out of the low E string, but that’s a pretty easy adjustment to make. And once you plug in, the volume seems to even out nicely. The amplifi ed voice is clear and slightly punchy, with a nice sense of directness which will work well in live situations. And it’s an absolute breeze to play, especially if you’re into more advanced styles that require lots of movement around the neck or lots of fast walking baselines.

ADDICTED TO BASSThis is an undeniably unusual instrument, but that’s a good thing: it plays by its own rules, and forces the player to do so as well. The playability is exceptional and the versatility afforded by the simple but powerful Sonitone system makes this a great live or recording bass as well as something you can use to jam around the campfi re or at the beach.

BY PETER HODGSON

I have had the pleasure of working with a number of AVID control surfaces and each one is always well designed and well suited to the needs of the user. AVID’s goal in their control surfaces is to bring the experience of working with the computer more into the hands of the producer to create a faster and less complicated workfl ow. Now, this month I was very excited to have the Artist Control land on my desk for review. For the price point that the AVIC Artist Control comes in at, it is without a doubt the best featured control surface on the market. Best of all, it isn’t just designed for use with Pro Tools, but also supports other DAWs like Cubase, Logic and Digital Performer. So, most home studios out there can now take their DAW control into their own hands and use less of the mouse for a more natural mix process.

ALL AT YOUR FINGERTIPSThe thing that really struck me about the Artist Control was how it just draws your hands towards it. You want to work with it and you fi nd that your hands spend more time on the control surface than they do on the mouse or keyboard. It really does bring you one step closer to being one with your DAW and makes the recording and editing process a dream. The four channels on the right hand side take the place of the conventional mixing desk with motorized faders, record/automation keys and On/Solo buttons. These can be easily toggled through the channels within you session, with the faders instantly snapping to the correct position as you shift channels. The other exciting design change is in the transport section. Rather than the typical layout that many controllers have for transport, the buttons are fanned around the jog wheel, so your right hand easily has access to these features as it rests on the unit.

AVID ARTIST CONTROL

TOUCH AND GOObviously, anyone who has seen one of these units will know there is a huge advantage to it that is rarely optimized in similar controllers. If you have seen the picture you will know I am talking about the touch screen. Yes. Touch screen! And it isn’t a small addition that looks like it has been thrown in at the last minute for a selling point. The Artist Control is built around this large full colour touch screen and openly invites you to make use of it for greater DAW control. What this LED backlit screen offers is a list that is too long to mention really. It gives you full control over most software features, allowing you to navigate through automation modes, track information and parameters and even access plug-in controls and EQ settings, all at the touch of a screen. The addition of a further twelve buttons located beneath the screen give you and four rotary encoders on either side of the screen allow you to enter information for parameters brought up on the display.The AVID Artist Control is going to revolutionise the way home and pro studio owners work with Pro Tools and other DAWs, making editing and mixing a speedier process. Put simply, I want one.

BY ROB GEE

Distributor: Avid

RRP: $1799

Website: www.avid.com


BOSE L1 1S SYSTEM WITH B2 BASS

Portable PA systems have seen a wide range of improvements and innovations in the past ten years and none have come further than those in the L1 range from Bose. These have redefi ned portable PA systems, allowing users to still retain the sound of a large system without sacrifi cing on size or portability. The 1S System in Bose’s L1 range really shows what you can do with a portable setup

Distributor: Bose

RRP: $2800

Phone: 1800 233 050

Website: www.bose.com.au

and with the B2 bass module; you can fi ll the room with powerful low end from a surprisingly compact system.

TOWERING SOUNDWith the system packed up for transport, you have two long shoulder bags for the base, array speakers and a sub that is easily carried by one person. The set up took less time than getting the boxes open and sorting through all the packaging. Within minutes of the system being out of its bags the L1 was ready to go. With the sub next to the line array on its stand, you have speakers that tower upwards of around eight feet in height. This line array allows you to project the sound over your audience to reach all corners of the room you are using it in. It is designed for use in rooms with up to 300 people in them, but running a pair of the systems as a stereo setup will allow you to fi ll even bigger rooms. The sound from the system was great. The B2 sub box, although just one for this review, really shook when some low end was put through the system. The top end was really sparkly, giving the overall audio picture a bit of a hi-fi sound, but still with that powerful installation PA feel.

MODULAR DESIGNThis is not a system that is set in stone as to how it can be run. It is great for a small duo or trio in its basic form, allowing loads or sound reinforcement from the very small amount of real estate that it takes up. But, you can add to the system as you like. Additional line array towers can be added for more projection, or if you really want to move the audience, you can run additional subs with your single tower. They can be stacked two units high, so even if you double up on the bottom end, you won’t be taking up any more space on stage.I expected the sub to have a bit of weight, but it wasn’t too bad. The line array was very portable too. But the base for mounting the line array really drags you down a bit. That said, it needs to support your speaker tower and remain stable without toppling over, so a bit of weight should not be too big of a concern. In all, this is a very portable system that offers the punch and power of a much larger system. So much so that it is very deceptive on appearance. You would not think that such a slim tower line array and a compact sub can deliver what you get from the L1 1S System. Best of all, it integrates with the Bose T1 Tone Match Audio Engine for incredible control of you mix through the system.

Distributor: Bose

RRP: $799

Phone: 1800 233 050

Website: www.bose.com.au

BOSE T1 TONEMATCH AUDIO ENGINE

When you are running a high quality PA system, the worst thing you can do is use a poor mixing console, and a poor engineer to run it. But, when you run a high quality PA right next to you on stage and you are running the show, there is comfort in knowing that you can have a quality audio engine and a collection of presets designed to work with your music and your system. So, when running the L1 portable PA systems from Bose, the only sensible option is to use the T1 ToneMatch Audio Engine to ensure you get the most from your setup.

TOTAL CONTROLThe T1 gives you just what you need to ensure you have control over your mix for up to fi ve channels in the one unit. With three XLR inputs and a stereo TRS input, you can make the most of your stage setup for guitars, vocals or keyboards. Each channel gives you instant access to Mute, FX Mute, Gain and Volume functions on the top panel for on the fl y adjustments to suit your mix. But it is within the box that the real magic happens. Firstly, I just ran through the presets to hear how they sounded and it was hard to go to a bad setting

with just a vocal or guitar running through the setup. This isn’t bad for just a preset. But when you go through the options and adjust the EQ settings to suit your microphone types and allow for the room, you can fi nd some really great results in no time at all. The compression is really nice; it doesn’t pump too much, but works in a subtle manner that is really natural. The effects are also very natural sounding, giving you delays and reverbs that sound more like a room’s actual state than a digital program. Really, anyone could get a great sounding mix out of the T1, but with a little time getting to know the unit and the system it is working with, you should always be able to get an amazing sound.

ALL BOXED UPThis unit has been well planned with the travelling musician in mind, knowing full well that it is to be used with the L1 portable PA, Bose have thought of everything to go with the T1. The compact unit itself comes with a latching lid to keep the controls safe when not in use, along with a carry bag for transport. There is also a mounting bracket included for attaching the T1 to the tower of the L1 system to keep it all neat and tidy when set up. You also get the connection cable for running the unit into the L1 system. With Bose and the T1/L1 combination, you know you are going to have the best quality sound on stage with an amazing array of variations for different instruments and environments. This takes the power of the L1 system and combines it with technology to complete your professional setup.

BY ROB GEE

I so often see guitarists running all number of effects pedals from a signal wall wart style power supply with a daisy chain lead splitting the power to the units on their board. This just makes me cringe, especially knowing there are plenty of power options out there that don’t leave you overloading the amp draw of a simple PSU and generally spreading noise through your pedal chain. So, this is where the Cioks DC8 comes along and solves so many guitarists’ problems, putting all the power you need into a medium sized unit that can be mounted onto your board.

PLENTY OF OPTIONSThe DC8 gives you 8 regulated power outputs from the one box. This is then run to mains power, so your entire pedal board could be powered from just one lead. The 8 outputs are separated into 6 isolated power sources, with outputs 5 & 6 and 7 & 8 sharing the same power source. What this means is that if you do have noisy pedals in your effects arsenal, they can be kept to a separate power source from the others to reduce the risk of spreading the noise through you power signal chain. The unit comes

with a variety of power patch cables so you can connect a whole host of pedals and even includes one for connection to the 9 volt battery port in case a pedal doesn’t support external power.

LOADS OF JUICEWhere the DC8 stands out ahead of similar units is in the current draw it supports. You get a total of 1 Amp between the power outputs with some offering up to 300mA draws, which is great for some of the thirstier delay and reverb pedals you may be using. You can run a variety of 9 volt and 12 volt pedals from the unit with two of the outputs being switchable between 9 and 12 volts. Should you require 18 volts of power for a pedal, there is also a cable for coupling two 9 volt outputs together for the extra juice.All in all, this is a well thought out unit that is very well built with recessed connections to ensure they don’t get damaged in use. My only issue is that the patch cables terminate in RCA connectors from the unit, meaning you can’t use patch cables from other pedal power sources, but that is about it really. Don’t lose any of the cables that come supplied and you won’t have a problem.

BY ROB GEE

Distributor: Amber Technology

RRP: $319

Phone: 1800 251 367

Website: www.ambertech.com.au

CIOKS DC8 PEDAL BOARD POWER SUPPLY

Distributor: Dynamic Music

RRP: $1099

Phone: (02) 9939 1299

Website: www.dynamicmusic.com.au

VHT SPECIAL 12/20RT GUITAR AMP

VHT hit on a killer idea with its Special line of amps. There are various different units in the series but what they share is a certain straightforward aesthetic which starts at the circuit design stage and carries through all the way to the fi nal amp’s visuals. WHAT’S WATTThe Special 12/20RT is switchable between 12 and 20 watts maximum output, but it has a Variable Watts control, giving you even further command over the power amp response. There’s a tube-driven effects loop, two 6V6 power tubes and three 12AX7s (a special voltage switch provides the proper voltage for either 6V6 or EL84 output tubes), and even a 9v DC pedal power supply output. Controls are very basic: a Texture switch, effects loop Send and Return levels, a Depth knob, a Tone control, master Volume, and the Watts control. The power switch selects between the two output confi gurations (Pentode and Triode). The Volume control houses a pull-boost feature which is also footswitch-activated, and around the back you’ll fi nd jacks for the footswitch, external speakers, the effects loop and a line-out, as well as impedance switches for the speaker outs. VHT uses a mod-friendly hardwired eyelet board construction method so if you’re confi dent and experienced

in circuit-tweakage, you can get in there and make your own additions, subtractions or changes to the circuit. In this spirit I kinda wish they’d provided extra space on the control panel should you wish to install additional pots or switches for whatever reason, but if you’re competent with circuit design you’ll fi nd a way around it. PEDAL PALFirst and foremost, the Special 12/20RT is designed to be pedal-friendly, so it has lower gain and more headroom than the Ultra 6 amps that preceded it, and the preamp is designed to be much cleaner in order to more faithfully translate what your pedals are doing. So with that in mind I hooked up my pedal board and let ‘er rip. My board includes an RJM Music Tone Saver buffer, Z.Vex Fuzz Factory and Jim Dunlop Jimi Hendrix System Octave Fuzz fuzzes, Dunlop Crybaby way, MXR EVH Phase 90 and Ibanez Airplane Flanger - all slightly gritty pedals with lots of analog mojo. The Special 12/20RT did a great job of maintaining the integrity of the pedals without introducing unwanted distortion. Part of the secret is of course the higher headroom, but if you wish to make the pedalboard and amp integrate together in a more organic way you can drop the power down and let the amp get a bit more punchy. This is a great way of getting more grit and attack without overloading the preamp. The Depth, Texture and Watts Control functions also work off the effects return, so if you use a digital multi effects or amp modelling unit, you can use the Special 12/20RT as a power amp and speaker combination while using your multi effects as a preamp, and the sound will be more integrated thanks to the various tone-shaping features available within the amp.

ANOTHER TRIUMPH!The Special 12/20RT is another great amp from VHT, but more importantly it’s a great amp for pedal users and multi-effect players. It feels kind of unusual to plug a POD or Boss GT-8 into an amp that looks so traditional, but once you hear it, it makes perfect sense.

BY PETER HODGSON

Distributor: Amber Technology

RRP: $1349

Phone: 1800 251 367

Website: www.ambertech.com.au

DPA D:FACTO HANDHELD CONDENSER MICROPHONE

This week I got to have a play with the DPA D:Facto handheld condenser microphone. This has been built from the capsule and sound qualities of the renowned 4011 microphone, but converted into a handheld model for stage use. But, let’s get this straight. This is not just another vocal microphone that will fi ll a gap in your mic kit. This is a quality condenser vocal microphone that demands to be used when you want great sound and rugged engineering to handle the rigours of stage use, or the precision you require for studio recordings.

HANDS UPThe D:Facto accepts very high SPLs and so is limitless in its uses for instrument and vocal applications. The capsule is very well suspended and isolated from the internal electronics so there is very little handling noise from the unit, making it a truly handheld condenser microphone. The D:Facto offers something that many hand held vocal microphones don’t. When the capsule is removed, a 10dB pad switch can be found within the housing to limit the volume when used in high SPL situations. At the same time, with this removable capsule, you can transfer it to a DPA wireless system and have the benefi ts of the tone and clarity of the D:Facto, but the freedom of movement that comes with wireless operation.

FLAT OUTWhen it comes to build quality, you really need to hold one of these to understand just how solid the D:Facto is constructed. It is extremely solid and feels really smooth resting in the palm of the hand. The multi layered suspension of the capsule allows this microphone to really take a beating and still offer excellent performance. Handling noise is kept to a minimum, which is a real selling point when it comes to taking a condenser microphone into a live environment. As for the frequency response, it is about as fl at as you could hope for in a microphone like this. Put simply, what goes in is what comes out. You don’t get to hide behind colourful EQ compensation; your audience will hear everything that you deliver.

There is rarely a microphone form DPA that disappoints, this is no exception. The D:Facto is a rich sounding, well built, well designed vocal microphone for live or studio use. If you are serious about your sound when on stage, or if you want a multi-purpose microphone that can be taken in the studio for high quality recordings, you really need to hear the D:Facto before you commit to anything else. It just might change your opinions of certain brand names and make you realise that quality and versatility is still an available option.

BY ROB GEE

Professional Studio Monitors

New Fostex PM641 & PM841

The new standards in amplified main reference 3-Way monitors Choose between 8” or 6.5” woofer with 4” midrange & 3/4” UFLC tweeter

Independent power amplifiers for low, mid and high frequencies

Built-in channel divider provides ideally overlapped frequency crossovers

Symmetrically positioned mid & tweeter minimizes unwanted diffraction

Independent internal chambers for driver integrity

TRS & XLR balanced inputs

PM841 PM641

New FosFF tex PM641 & PM841ee

The new standards in amplified mainreference 3-Way monitors Choose between 8” 8 or 6.5” woofer with 4” midrange &e & 3/4” UFLC tweeter

Independent power amplifiers for low, mid and high frequencies

Built-in channel divider provides ideally overlapped frequency crossovers

Symmetrically positioned mid & tweeter minimizes unwanted diffraction

Independent internal chambers for driver integrity

TRS & XLR balanced inputs

PM841 PM641

Electric Factory Pty Ltd 188 Plenty Road Preston VIC 3072 03 9474 1000 [email protected]

Electric Factory Pty Ltd 188 Plenty Road Preston VIC 3072 03 9474 1000 [email protected]

www.elfa.com.au

DSL100H 100W/50W Valve Head $1299

DSL40C 40W/20W Valve Combo $1099

DSL15H 15W/ 7.5W Valve Head $749

DSL15C 15W/ 7.5W Valve Combo $899

NEW RANGE

CLASSIC SOUNDSWEET PRICE

mixdown 224

Documents

gl1half guitar

f310 guitar spruce

amp pack

great yamaha pacica

j electric guitar

beginners classical

guitar practice thr10thr

vox cable