LEARN TO PLAY: THREE DOORS DOWN -"KRYPTONITE”

WIN!
A LINE 6
HX STOMP
WORTH $1,099

LEARN TO SING
AND SHRED LIKE
VAN HALEN
INTERVIEWS:
KINGSWOOD
THE AMITY
AFFLICTION

THE VENOMOUS RETURN OF CLUTCH • HELMET

VIOLENT
SOCCER MOMMY
BEACH SLANG
THE CHATS

SOHO
GROUPLOVE
BEST COAST
JACK RIVER
THE VANNS
BRISBANE’S BEST ARE BACK PINEGROVE

AND READY TO SHRED LIKE HELL

SHEER MAG
$10.99 / NZ $11.90 (INC. GST)
VOLUME 137

NAMM 2020 DIY SPECIAL

ALL THE BIGGEST REVEALS SPICE UP YOUR STRAT
T H E N E W E ST M E M B E R O F T H E AC O U STAS O N I C FA M I LY O F F E R S A
U NI Q U E S ET OF STR AT ® -I N S P IR ED VO IC I NG S P LU S TH E U ND EN I ABL E
LOO K AN D FEE L O F OU R I CO NI C STR ATO CAST ER BODY SH AP E .

CR AF T ED IN C OR ON A, C ALI FOR N IA

THE AMERICAN ACOUSTASONIC SERIES: ACOUSTIC. ELECTRIC. EVERYTHING IN BETWEEN.

 9 24

64 8

CONTENTS
REGULARS
87
04 Digital
06 Fresh Frets
08 Axes In Action:
Summer Festivals
34 Subscriptions 79
54 Tablature: Three
Doors Down
60 Hot Gear
64 Producer Profile
66 Home Recording
84 CD Reviews TESTING
84 Final Note 68 Electro-Voice Evolve 30M
INTERVIEWS 87 Fender American
Ultra Telecaster
13 Jack River 88 Markbass Little
14 Sheer Mag Mark Vintage
15 The Vanns 89 Focusrite Scarlett 2i2
16 Clutch 90 Framus Devin Townsend
Stormbender
19 Soccer Mommy
93 Gibson G-45 Standard
20 Helmet + Studio
21 The Chats 94 Fishman TriplePlay
22 Best Coast Connect
24 The Amity Affliction 95 Earthquaker Devices
Plumes Overdrive
26 Kingswood FEATURES TECHNIQUE 96 Gretsch G5220
28 Pinegrove Electromatic Jet BT
30 Beach Slang 43 NAMM 2020 Wrap-Up 74 Six-String Sweeps Single-Cut + G2622T
Streamliner Center Block
32 Grouplove 71 DIY: Spice Up Your Strat 75 Intro To Slash Chords
97 Electro-Harmonix Ram’s
36 Violent Soho 79 Sing And Shred Like Van Halen 76 Minor Key Signatures Head Big Muff Pi
4 | AUSTRALIAN GUITAR DIGITAL

LEARN TO PLAY: THREE DOORS DOWN -"KRYPTONITE”

WIN!
A LINE 6
HX STOMP
WORTH $1,099

LEARN TO SING
AND SHRED LIKE
AUSTRALIAN GUITAR DIGITAL #137
VAN HALEN EACH ISSUE, WE BRING YOU INTERVIEWS WITH LOCAL AND INTERNATIONAL ARTISTS,
SAMPLE TRACKS, VIDEO TUTORIALS, AND STYLE STUDIES COMPLETE WITH TABLATURE AND
INTERVIEWS:
KINGSWOOD BACKING TRACKS – FOR MORE INFO, HEAD TO GUITARHEROES.COM.AU
THE AMITY
AFFLICTION

THE VENOMOUS RETURN OF

CLUTCH • HELMET EXCLUSIVE INTERVIEW

VIOLENT
SOCCER MOMMY
BEACH SLANG
THE CHATS AN INTERVIEW WITH

SOHO
GROUPLOVE
BEST COAST
BENJAMIN VERDERY
JACK RIVER
Described by The New York Times as “an
THE VANNS iconoclastic player”, Benjamin Verdery has been
BRISBANE’S BEST ARE BACK PINEGROVE
hailed for his innovative and eclectic musical
AND READY TO SHRED LIKE HELL
SHEER MAG
career. He’s been the Professor of Guitar at the Yale
$10.99 / NZ $11.90 (INC. GST)
VOLUME 137

NAMM 2020 DIY SPECIAL School of Music since 1985, and Artistic Director of
ALL THE BIGGEST REVEALS SPICE UP YOUR STRAT
92Y Art of the Guitar series (NYC) since 2006.
As a recording artist, Verdery has released more
than 15 albums. His most recent, On Vineyard

#137 Sound (released as The Ben Verdery Guitar

Project), features him performing music composed
by his colleagues at Yale, as well as one his own
compositions. It was released on the ECR label,
an online music platform Verdery co-curates with
EDITORIAL guitarist-songwriter Solomon Silber.
EDITOR Matt Doria In 2020, Verdery will release a new album of his
ART DIRECTOR Glen Downey own material, as well as the debut release by Bryce
AVHUB GROUP DIRECTOR Jez Ford Dessner’s Quintet for High Strings with the St.
Lawrence Quartet.
CONTRIBUTORS Verdery has created and released several
Alex Wilson, Alison Richter, Amit Sharma, Britt Andrews, exquisitely filmed videos, including his Shangri La
Chris Gill, Dave Burrluck, David Mead, Jack Ellis, series – filmed at Doris Duke’s Shangri La Centre
Jackson Maxwell, Jimmy Lardner-Brown, Jonathan Horsley,
Matt Doria, Michael Astley-Brown, Peter Hodgson,
for Islamic Arts & Cultures in Honolulu, Hawaii –
Peter Zaluzny, Richard Bienstock, Rob Laing, Rob Long, which features Barrios Mangore, Manuel de Falla
Sam Roche, Steve Henderson, Trevor Curwen and Isaac Albeniz. His two most recent videos are
for Seymour Bernstien’s “Searching For A Chorale”
and Bryce Dessner’s “Portbou”.
A prolific composer in his own right, Verdery has
ADVERTISING been commissioned to compose works for a wide
NATIONAL ADVERTISING MANAGER Lewis Preece range of releases, events and groups, including the
EMAIL lpreece@nextmedia.com.au Pensacola Guitar Orchestra, John Williams and John
ADVERTISING CO-ORDINATOR Di Preece Etheridge, Wake Forest University, and the score
EMAIL dpreece@nextmedia.com.au for the documentary film Corida Goyesque.
Verdery’s Scenes from Ellis Island, for guitar
orchestra, has been extensively broadcast and
SUBSCRIPTIONS
performed at festivals and universities in the
techmags.com.au or call +61 2 8277 6486 United States, Canada, New Zealand and Europe.
PO Box 1077 Mount St, North Sydney NSW 2059 The Los Angeles Guitar Quartet also included a
shortened version on their release Air And Ground.

TUTORIAL VIDEOS
MASTERS SLIDE GUITAR IMPROVISING UNPLUGGED BY
MANAGING DIRECTOR Neville Daniels OF ROCK Steve presents Steve explores the ARRANGEMENT
All contents © 2020 Future Publishing Australia or published under licence. All Steve Flack presents an ongoing series ‘secrets’ to improv. Steve presents one
rights reserved. No part of this magazine may be used, stored, transmitted or
reproduced in any way without the prior written permission of the publisher. a tutorial based on covering slide guitar This issue presents of his unaccompanied
Future Publishing Limited (company number 2008885) is registered in England
and Wales. Registered office: Quay House, The Ambury, Bath BA1 1UA. All
the style of a “Master techniques. This the first part of a study arrangements of
information contained in this publication is for information only and is, as far as of Rock Guitar” – in issue presents part on John Coltrane’s popular music for the
we are aware, correct at the time of going to press. Future cannot accept any
responsibility for errors or inaccuracies in such information. You are advised to this issue, part one three of a Dwayne classic “Green Dolphin guitar. In this issue,
contact manufacturers and retailers directly with regard to the prices of products
and services referred to in this publication. This magazine is fully independent
of a Lou Reed-style Allman-style study. Street”. Includes an arrangement of
and not affiliated in any way with the companies mentioned herein. study. Includes backing Includes backing tablature, solo and The 4 Tops’ “Reach
PRIVACY POLICY tracks, tablature and track, tablature and backing tracks, and Out, I’ll Be There”.
If you provide information about yourself this will be used to provide you with
products or services you have requested. We may supply your information to
Guitar Pro 6 files. Guitar Pro 6 files. Guitar Pro 6 files. Includes tablature.
contractors to enable us to do this. Future Publishing Australia will also use your
information to inform you of other publications, products, services and events.
Future Publishing Australia may also give your information to organisations “KILLER BACH” WITH STEVE FLACK
that are providing special prizes or offers and are clearly associated with the
Reader Offer. Unless you tell us not to, Future Publishing Australia may give
Steve Flack performs a J.S. Bach piece for solo guitar. Not for the faint of heart!
your information to other organisations that may use it to inform you of other
products, services or events. If you would like to gain access to the information
Future Publishing Australia holds about you, please contact us. Also available are our regular columns, supporting tracks and tablature,
____________________________________________ www.futureplc.com ____________________________________________ plus artist tracks, What’s New, gear galleries and more!

| australianguitarmag.com.au
To find a dealer near you or for more information contact
Ph: 03-9540 0658 www.innovativemusic.com.au
6 | FRESH FRETS

LITTLE QUIRKS WALKEN

THEY ARE Three inhumanly talented folk-pop firestarters from the NSW THEY ARE Three fun-loving best mates from Brisbane hellbent on brewing
Central Coast, dealing in soul-warming indie-pop song structures made all up a gut-punching frenzy of pop, rock, punk and grunge. Driven by some
the more beautiful with mandolin riffs, off-kilter percussion and three-part beautifully banging beats from drumlord Beej Vaughan, the earsplitting
harmonies that constantly threaten to steal the show. All three members double-axe attack is wrangled by Patrick Shipp and Matt Cochran, the latter of
share the mic equally, with sisters Abbey and Mia Toole behind the axe and whom also belts his heart and soul out into the mic.
kit, respectively, and cousin Jaymi on mandolin duties.
THEY SOUND LIKE The next biggest name in Australia’s burgeoning
THEY SOUND LIKE The perfect soundtrack for summer mornings pop-punk revival scene. They’re derivative of no one, they’re unafraid to
spent road-tripping through the mountains en route to this ‘hidden gem’ take stylistic risks, and although they don’t take themselves too seriously,
beach your sister’s girlfriend swears by – it’s no shock at all Little Quirks their jams are all ridiculously tight. And with just a handful of tracks to their
are a coastal crew. name, they’ve explored a stunning expanse of sonic terrain.

YOU’LL DIG THEM IF YOU LIKE Boy & Bear, All My Exes Live In Texas, YOU’LL DIG THEM IF YOU LIKE Jimmy Eat World, Folie-era Fall Out
and the first few Mumford & Sons records. There was a little chunk of time Boy and WAAX. They’re very much in the same class as other modern Aussie
towards the end of the ‘00s where Top 40 pop types went through a big rock bands – if you’re into anything on Poison City or I OH YOU, there’s a
neo-folk phase – if you found yourself letting your inner yee-haw shine back good chance you’ll dig Walken – but they revel in a flavour and authenticity
then, Little Quirks will pull you right back into the thick of it. entirely of their own.

YOU SHOULD CHECK OUT Their recently released third EP, Cover YOU SHOULD CHECK OUT The equally fun and feisty new single,
My Eyes, which across five neat slithers of sharp, twangy guitars, and “Regular Human Person” – their first release in over two years, and a
vocal harmonies that shoot for the heart like bloodthirsty ticks, unfurls monolithic comeback to say the least. The lyrics are a tad cheesy (and
everything there is to love about Little Quirks. It’s tight, bright and intentionally so), but somehow, the trio avoid falling into the pit of
emphatically emotive, and the production (led by alt-folk luminary Wayne “wanky ‘90s dork-rock facsimile” that so many bands that try their hand
Connolly) is downright flawless. at such a concept do.

TEEN JESUS AND THE JEAN TEASERS OUTRIGHT

THEY ARE One of the few reasons worth defending the ACT, and a wickedly THEY ARE Quite possibly the single most underrated hardcore band
fiery throwback to the golden age of ‘90s alt-rock. They formed at a sleepover in Australia; they’ve been kicking down doors and spurring circle pits en
after watching School Of Rock, and wielding a huge wall of sound with their masse since 2010, yet they’re an elusive bunch – the undisputed kings and
SG and Tele combo, shredders Scarlett McKahey and Anna Ryan have proved queen of Melbourne’s underground mosh scene. Driven by frontwoman
themselves more than worthy to follow in the footsteps of rock’s greatest. Jelena Goluza’s brutally badass bellows, the dual shred action from Joel
Cairns and Lincoln le Fevre is something you really need to hear to believe.
THEY SOUND LIKE Something you’d put on when you’re not necessarily
feeling angsty, but need to scratch the musical itch that only something that THEY SOUND LIKE Pure, unwavering catharsis. Any shit day can be
sounds angsty will. They deal in coming-of-age anthems for those who like made immensely better by popping on some headphones, clearing out all
their distortion heavy and neighbours angry. your expensive/fragile furniture, and blasting an Outright cut at full volume.

YOU’LL DIG THEM IF YOU LIKE Siouxsie And The Banshees, Cherry YOU’LL DIG THEM IF YOU LIKE Knocked Loose, Code Orange,
Glazerr and Sunny Day Real Estate. The core of their sound is undoubtedly Converge and whatever bloody-nosed up-and-coming hellions are belting
nostalgia, but strewn through a filter of youthfulness that adds a whole new their hearts out at the local PCYC this Friday night (don’t forget your tenner
dynamic to gristly, grungy might of those above. for the door charge). They go hard as all sweet hell, they’re unforgivingly
loud, and their progressive message is one that everyone should get around.
YOU SHOULD CHECK OUT One of their downright eruptive live
shows, where Ryan, McKahey, drummer Neve van Boxsel and bassist Jaida YOU SHOULD CHECK OUT The breakneck-paced bangers “No Fear”
Stephenson gel with a creative calamity that few of their peers could and “Holler” – two fierce and fiery feminist anthems loaded with crunchy
match. It’s also only there that you can cop their best song, “Swimming riffs and belting bass. We’ve got our fingers crossed that these two recent
Pool”. One day they’ll drop a studio version of it, and when they do, the singles lead to a full-length album, but for now, they’re absolutely worth
Australian rock scene will be forever changed. jamming on repeat ad nauseam.

| australianguitarmag.com.au
 |7

WOLFJAY
THEY ARE An idiosyncratic
indie-pop powerhouse
who’s very quickly gearing
up to cannonball into the
mainstream. Their lovably
lush soundscapes are layered
with crunchy percussion,
dreamy synths and heady,
honeyed guitars. It’s the
solo project of Adelaide’s
brilliant Jack Alexander, and
we honestly have a hard time
believing one person alone
can create such rich and
rousing material.

THEY SOUND LIKE

The walk home after a first
date where the dinner was
scrumptious, conversation
bloomed and the two of
you got along like a house
on fire. Wolfjay has good
vibes on tap.

YOU’LL DIG THEM IF YOU LIKE M83, The Midnight and The Cure.
You’re reading about them in a guitar mag, of course, but it’s honestly
the twinkly, pseudo-melancholic electronica vibes that stand out most in
Wolfjay’s discography. If you have a soft spot for synthpop or like to mellow
out with a bit of progressive house, you’ll likely find that the drawcard for this
MAX QUINN mind-melting multi-instrumentalist.

HE IS A living meme, the unofficial YOU SHOULD CHECK OUT The kaleidoscopic new single “In Memory
Prime Minister of the online BEN LEECE Of”, which runs for just shy of three minutes but feels impossibly short. The
Australian music community, and a moody cut canters along with a chill, droning melody that’s far too easy to
singer-songwriter from Ballina with HE IS One of the brightest new lose yourself in, bright and buzzy guitar lines keeping the beat afloat until
a penchant for viscerally poignant voices in Australian country, they culminate in a big, beautiful solo.
lyrical themes and ballads that’ll still his sharp, Tennessee-inspired
make you want to pump your fists. drawl and twangy acoustic juts
pummelling through the mix with SHADY NASTY
HE SOUNDS LIKE The sonic a distinct balance of passion and
equivalent of slipping into a nice, power. He tugs at the heartstrings THEY ARE A trio of terror from
warm bath with a mug of hot choccy with his bluntly emotive passages Sydney whose eccentric and
after a tough winter’s day on the and biting honesty, and sonically, experimental fusion of punk,
clock. No matter your ailments, finds avenues to intensity by way of hip-hop, industrial metal, jazz,
Quinn’s music is as therapeutic as it dry, lowkey strumming over dense, math-rock, emo and shoegaze
is fun (see: very). yet beautifully natural soundscapes. makes them impossible to define
succinctly. They left us with
YOU’LL DIG HIM IF YOU HE SOUNDS LIKE A double shot our jaws properly unhinged at
LIKE Kisschasy, Something For Kate of your finest aged whisky, neat. BIGSOUND last year, and with
and Courtney Barnett. There’s a hint good reason – Shady Nasty are
of folk lingering in the shadows of his YOU’LL DIG HIM IF YOU completely one-of-a-kind, and
punchy pop-rock numbers, but the LIKE Nick Cave, Tim Rogers and pretty goddamn great at what
primary flavours are ripping guitars, Wilco. There’s a striking Southern they do with their combined talents.
walloping drums, and a heavily punch to Leece’s music, but
accented holler that instantly ropes it never feels like he’s playing THEY SOUND LIKE A total clusterf***, in all the best possible ways.
you in and demands your attention – musical dress-up. The authenticity If you’ve ever had to pull an overnight study sesh for a uni exam on a
that is, until you’ve learned all the at play is nothing short of topic you had no bloody clue about, you’ll know that truly unique feeling
lyrics and you find yourself belting breathtaking, and it’s without a of existential dread. Shady Nasty take that dread and spin it into musical
along with Quinn. ‘00s alt-rock doubt he’d fit right at home on the masochism. Addictive as hell.
fanatics will fall head over heels Bluesfest and Tamworth Country
before the first chorus ends. Music Festival mainstages. YOU’LL DIG THEM IF YOU LIKE Superego, Death Grips and
Ministry. If you’re the type to start your day with a can of V or always
YOU SHOULD CHECK OUT YOU SHOULD CHECK OUT fantasise about ripping doughnuts at that roundabout down the street,
Last year’s slow-burning His riveting debut album, No Shady Nasty are the band for you.
soul-thumper “Live Again” and Wonder The World Is Exhausted. It’s
its raw and enigmatic predecessor a play-by-play through everything YOU SHOULD CHECK OUT The mind-melting new EP Bad Posture,
“Serotonin”. Both are witty and that makes country music great, which dropped like an atom bomb on us at the end of February. It’s four
warbly pop jams about Quinn’s delivered in a bold, acoustic-heavy tracks long and barely scrapes the 15-minute mark, and yet it’s a powerful
struggles with mental health, made mix unfettered by any unnecessary platter of everything Shady Nasty have to offer – from the raw, to the
all the more powerful with their bells or whistles. This is Leece as melancholic, to the downright intense. Give it a spin, and then catch the
riveting choruses and warm, lightly raw as he comes, pouring his heart band in the flesh. It’s onstage that they truly shine, and there’s a good
distorted guitar parts. Delicious. and soul out onto tape. chance you’ll leave their set a changed person.
8 | AXES IN ACTION

SIMPLE CREATURES THE VERONICAS

GOOD THINGS FESTIVAL

WHEN: FRIDAY DECEMBER 6TH, 2019
WHERE: FLEMINGTON RACECOURSE, MELBOURNE VIC
REVIEW: MATT DORIA • PHOTOS: PETER ZALUZNY

A
fter its unequivocally spectacular debut mosh-pop and mind-shattering math-rock. Will Swan moment in their set.
last year, the Good Things festival is back holds virtually the entire weight of the band on his As we settle into the evening, it’s the local
for another crash-hot round of rock, punk, shoulders, his inflammable lead riffage a potent focal favourites amongst the bill that (rightfully) steal the
pop and mosh. Punters arrive in droves for the point of their 45-minute eruption of energy. spotlight. Thy Art Is Murder throw us for six, as
first acts, with all nine-plus hours of the schedule However curious their inclusion on the lineup they tend to, with their noxious flurry of blastbeats
packed tightly with international icons and local seemed at first, The Veronicas become an instant and breakdowns, proving that deathcore is alive,
legends alike. For us, the festivities kick off with highlight of the day when they blast into a string well, and certainly not to be f***ed with. After over
a poignant – if decidedly polarising – set from of their early-‘00s pop-rock anthems. Between a year in hibernation, Violent Soho make their
web-famous weirdcore princess Poppy. their resoundingly dynamic stage presence, the headliner-worthy comeback with a stacked set of
Across 45 minutes as upbeat as they are tongue-in-cheek Blink-182 cover and the wall of their grungy alt-rock gems, frontman Luke Boerdam
unsettling, the 25-year-old fuses bright bubblegum death that capped their set, the Brissy-native pop and lead axeman James Tidswell trading fiery juts
pop hooks with thumping hip-hop beats and duo prove without a hitch why their comeback is and gravelly jams aplenty. And rounding out the
guttural black metal riffs – if you’re wondering one to keep an eye on. Seconds after they saunter triple-hit in a powerfully intoxicating wall of sound,
how that works, don’t, because we certainly can’t offstage, Trivium storm out to remind us that, yes, Karnivool throw us deep into the ether with their
explain it. Somehow, though, she and her band this is a rock festival, and yes, shit is about to hit riff-heavy unfurling of polychromatic prog-rock.
(who, by the way, are wearing deeply disturbing the fan. Hell hath no fury like Corey Beaulieu with Leaning on their heavier cuts, A Day To
latex masks of Poppy herself) pull it off without a his axe in hand, every toothy bend and turbulent Remember have their sights set on brewing the
hitch. It’s something you truly need to witness in breakdown he conjures equally beautiful and brutal. festival’s most chaotic pits. And with a breathless
the flesh to properly understand. With a new album on the horizon, Enter Shikari string of barbarous bangers like “I’m Made Of Wax”
Helping us reconnect with reality are the are as sharp and springy as ever, more than making and “2nd Sucks”, it shouldn’t come as any shock
ska-punk superstars in Reel Big Fish. Complete up for their extended hiatus from Oz touring. The that they succeed. On the other side of the site,
with the prerequisite Hawaiian shirts and horn electronicore warriors focus on the short, fast and Simple Creatures prove effortlessly that doughy,
section, the Californian quintet deal a tireless hand loud, taking full advantage of every second they’re adolescent pop-rock has a bright future ahead of
of skank-worthy scorchers from all corners of their doled with a wall-to-wall onslaught of synths and itself, their simple, yet authentically energetic bops
28-year catalogue. It’s stunning how tight frontman shredding. He’s visibly hungover, but frontman Rou earning many a well-deserved shake of the fist.
Aaron Barrett is – especially given the blistering Reynolds still pours every ounce of his soul into the Reigning as the undisputed kings of modern
heat and his defiantly inappropriate attire for such – mic – he sings sweetly on recent single “Stop The Australian metal, the night comes to its peak
as he couples his quick and quirky vocal quips with Clocks”, slams into the chants on “Anaesthetist” with with a stadium-level showcase from the one and
frenzied shredding on his fretboard. an intimidating British bite, and lets all hell break only Parkway Drive. Their set is a celebration
Our parents taught us that if we have nothing loose for the crushingly chaotic “Paddington Frisk”. of grandiose and guttural excess – the riffs are
nice to say, it’s better to say nothing at all. So, with Starving for a sneaky bit of pop-punk, we ditch enormous, punishingly heavy and spine-rattlingly
all due respect to Ice Nine Kills, we’re gonna skip our dinner plans to cop a chunk of Simple Plan’s loud, equal in abundance to the billowing reams
discussing their performance (which greatly favours domination of the mainstage. Though certainly of fire that erupt with every one of Jeff Ling’s
gimmicks over musical prowess) and jump straight to not at their peak, Pierre Bouvier and co. deliver inhumanly savage breakdowns. This is the kind of set
Dance Gavin Dance, who actually put some effort an impressively cool and kinetic performance, that goes down in history; that Good Things is a part
into their career-spanning showcase of pummelling with throwback jam “Addicted” an especially tasty of the narrative makes it all the more special.

| australianguitarmag.com.au
 |9

TASH SULTANA VAMPIRE WEEKEND

FALLS FESTIVAL
WHEN: TUESDAY DECEMBER 31ST 2019 – THURSDAY JANUARY 2ND, 2020
WHERE: NORTH BYRON PARKLANDS, BYRON BAY NSW
REVIEW: MATT DORIA • PHOTOS: BRITT ANDREWS

B
y the time we make it to the festival entry is top-notch. It’s just three best mates having a set of their sprightly summer anthems. We end
on day one, we’re already caked in sweat jam, shooting the shit and showing off their skills – the night with an hour of pure, mind-melting
and dust – a prerequisite, though, for any which they have a crazy amount of. They’re a magic from the German indie-rockers in Milky
camper making their way into Falls after setting perfect warm-up, too, for Canberran grunge-pop Chance. Cuts from their recent Mind The Moon
up their “home” for the next three nights. After trailblazers Teen Jesus And The Jean Teasers. LP are highlights in their calculated restraint and
perusing the grounds in search of the cheapest spot From the light and lively “Swimming Pool” to the more cerebral noodling, but it’s older gems like
slinging watermelon juice and playing a quick game crunchy and convulsive “Hallway To Norway”, the the puckish “Ego” and hallucinogenic “Stolen
of volleyball at the makeshift beach propped up foursome hit every mark with a bullseye. Dance” that truly make the pits erupt.
between stages, we settle in on the amphitheatre Hot off the heels of their debut album Big Grief, Adrian Eagle sets the mood for our surprisingly
hills and prepare to have our minds blown by a WAAX launch themselves upon the Forest stage lowkey third and final day, as the up-and-coming
true blue Australian icon: John Farnham. An odd with pure, incandescent fury, bursting into a biting Adelaidian spotlights his polychromatic fusion of
choice for a festival like Falls? Absolutely. One we blitzkrieg of highlights from the disc, as well as rootsy hip-hop and mellow pop hooks. We get a
still wouldn’t miss for the world? Absolutely. some delightfully deep cuts that send their crowd decent hit of early-arvo energy from pub-rockers
Farnsey is in remarkable shape as he takes into a raging tizzy. The only other act on this bill Bad//Dreems, whose walloping Tele riffs, gnarling
to the Valley stage at sunset, cantering through who could muster such intensity is Yungblud, solos and bright, booming choruses make them
a choice slither of his catalogue – marvellous so props to the organisers for popping his set on a standout act of the festival. Their fiery stamina
nuggets of banter scattered throughout – before right after the Brissy quintet’s. Dominic Harrison is stands out, too, sandwiched between Eagle and
closing, naturally, with his seminal pub karaoke an irrepressible force of manic moxie as he tears the ultra chill #1 Dads. The side-project of Big
classic “You’re The Voice” (and yes, virtually through hit after hit, stopping only to sling on and Scary frontman Tom Iansek, the guitar-pop outfit
everyone in attendance screamed along). Spirits off his guitar between the setlist’s meatier tracks revel in breezy and understated bops that burn
are strikingly high when Tash Sultana follows (which there are thankfully plenty of). slowly, but with a fire that hits the soul fiercely.
him with their 45-minute set of sprawling, snaky Bounding around the stage with youthful ardour The rest of our day is admittedly quiet, until
guitar rhythms and serendipitous synthage. and hopping at whim between keyboards, guitars a loveably cool night settles in and the festival
They’ve come a long way from busking on the and percussion, Sydney pop-rockers Holy Holy comes to a rousing close at the hands of pop kings
sidewalks of Melbourne, wrangling a one-person prove themselves to be the perfect comedown Vampire Weekend. Between the jammy, classic
powerhouse setup of prickly psych-rock and act as we roll into the evening. Smiles wide and rock-channelling cuts from this year’s Father Of
rippling reggae with a level of might that most energy buoyant, we’re ready to get our melancholy The Bride, the sparkly synthpop gems from 2013’s
established virtuosos would fail to replicate. on with new-wave crooner luminary Lewis Modern Vampires and the perky pseudo-reggae
We call it a night early to celebrate our New Capaldi. The laidback Scot breaks up his cruisy, scorchers of the New Yorkers’ earlier works, the
Year in the pavilion (which is, like every year, heartstring-tugging soft-rock jams with side-splitting hourlong set is wonderfully unpredictable and
buzzing with liveliness and its own unique culture), banter – it’s not often you see punters vacillate consistently exciting. Performing as a septet, their
and rise early on day two for a rip-roaring set between belly laughs and tears a dozen times across mix is layered dense with punchy and peculiar
from Wollongong skate-punks Totty. It’s instantly an hour, but if anyone can make it work, it’s Capaldi. instrumentation – the guitars are the stars, though,
clear why they’ve captured the heart of the The amphitheatre is teeming with elation from the intoxicating grooves of frontman Ezra
underground scene: their songs are short, snappy for Of Monsters And Men, with the Icelandic Koenig’s hollowbody noodling on “Sunflower” to
and super fun, and their easygoing stage presence pop-folkers coasting through a sharp and spirited Brian Jones’ flamenco fretting on “Sympathy”.
10 | AXES IN ACTION

POLARIS NORTHLANE

UNIFY GATHERING
WHEN: FRIDAY JANUARY 10TH – SUNDAY 13TH, 2020
WHERE: TARWIN LOWER, SOUTH GIPPSLAND VIC
REVIEW: MATT DORIA AND MILO DUREAU • PHOTOS: BRITT ANDREWS

I
t seems Thor was upset he’d missed out on With more bands left to play than time to schedule stand out like a steak in a vegan restaurant – their
tickets to the hottest heavy music gathering of them, UNIFY did what they said they never would beats are sick and their riffs are slick, and the way
2020 – virulent thunderstorms wreak havoc on and propped a second stage up in the circus tent mic-lord Drew York whips around the stage incites
the Friday morning, wind and rain terrorising the (which existed formerly as a shady hangout spot pure f***ing chaos in the pits. Tonight Alive’s set
campsite and causing major delays to the stage and bar hub). This becomes a hotspot for pop-punk almost feels like respite after, their cruisy pop-rock
operations. Schedules fast become irrelevant as lovers, kicking off with a rabid and raw throwback stylings a welcome break from all the guttural
the crew endeavour to stage any entertainment to the ‘90s courtesy of Melbourne up-and-comers dread and flying ankles. It’s a noteworthy set for the
at all, to varying success; such means we miss Something Something Explosion. Summarised Sydney crew, back in action after a year of hiatus
out on highly anticipated acts like Tired Lion and pretty aptly by their name alone, the trio soar with and hitting every last beat like they never left.
Antagonist AD – though all reports indicate that breakneck-paced beats and sour, scuzzy riffs that Marking the official last show of the Mortal Coil
punters braving the elements for them are treated come like a sonic shot of pure caffeine straight to era, Polaris jam a headline set and a half’s worth of
generously for their dedication. the brain. The nostalgic effervescence rolls on with venomous fervour into their 50-minute incursion.
The first act we catch is a notably soggy Dear Columbus, whose dorky and doughy, Weezer-esque Ryan Siew’s merciless fretboard abuse is simply
Seattle, unfazed by the gloom as they belt through pop jams evoke a sea of smiles and pumping fists. captivating, every ultra technical twist as searing
a frenzied flaunting of bangers from their hit-heavy We head down a more traditional, mid-‘00s as frontman Jamie Hails’ monstrous battlecries.
debut album, Don’t Let Go. Our troubles melt away influenced pop-punk path with the back-to-back Up next is a crash-hot showcase of sonic intensity
like butter on toast when frontman Brae Fisher hits blow of Melbourne maestros Between You And Me from their fellow Sydney-native metalcore
the first wailing pring of his guitar on “Daytime TV”, and Sydney scorchers Eat Your Heart Out. Both maniacs in Northlane, with gems from this year’s
the band’s rowdy crowd chanting every lyric back revelled in bright, booming guitars and summery game-changing Alien LP sending shockwaves right
like it’s gospel. Architects follow them to rapturous hooks that spurred circle pits en masse, an overall through to the campsite.
acclaim on the mainstage, doling out a delicious sense of elation bounding around the tent as they We’ll be honest: for a solid few years there, it
hit of caustic catharsis with their PA-pulverising ripped through cut after cut of youthful energy á seemed like we’d never see The Ghost Inside
metalcore gold. It’s the UK titans’ only show on Oz la Telecaster. The Beautiful Monument kick the kick ass again. As their second show back in action
soil this year, and they make full use of every second crunchiness up a touch with their metallic bends since a life-threatening bus accident in 2015, it’s
they have – Josh Middleton and Adam Christianson and down-tuned jutting, but their inescapably an incredibly special performance, both for us
riff with impassioned fury, down-tuned crunches catchy rhythms and towering choruses make them and the Cali quintet themselves. Highlights are
aplenty as Sam Carter spits pure vocal fire. a favourite of the pop inclined. abundant, but with Zach Johnson’s lead riffage
So day one was a bust, we’ll admit, but after Over on the mainstage, heaviness reigns especially frenzied, “Dear Youth” and closer
some much-needed Z’s (in the back of our car, since supreme. Kublai Khan bring the Texas touch with “Engine 45” are certainly cuts we won’t soon
our tent had become a glorified kiddie pool), we’re their gritty and gory hardcore shredding, before forget. There’s a palpable sense that The Ghost
back in high spirits and starving for a circle pit. Knocked Loose roll out and prove why their name Inside are genuinely thankful to be onstage again,
Cue the fire-eyed Adelaidians in Sleep Talk, who, is outright unavoidable at the moment. They have reflected in performances that prove their talents
armed with cuts from their manic and motley debut the energy of a hardcore band, metalcore-esque haven’t wavered one bit in four years off.
LP Everything In Colour, deliver a breathtaking 30 song structures and the tonal bleakness of black As our next-day bangovers are soothed by the
minutes of pummelling post-hardcore, soul-twisting metal. Breakdowns don’t just feel like an invitation acoustic stylings of Marcus Bridge (who shines
emo and bleak-as-hell grunge. Straight after, The to mosh – they barrel down in the mix like atom just as much with his soft-pop crooners as he does
Brave take us down a winding rabbithole of bombs of drop D-tuned decimation, the unremitting going ham in Northlane), our minds are officially
cerebral metalcore stylings, axemen Kurt Thomson ire and angst of their songs rendered into visceral made up: even if dreary weather made it the
and Denham Lee building a vicious and vexing bursts of savage shredding. roughest one yet, UNIFY 2020 was a damn fun
soundscape that keeps our jaws planted firmly on The scathing pseudo-nu-metal flavour of Stray time. We can’t wait to see what they have up their
the ground for the whole span of their set. From The Path makes the New York foursome sleeves for the next one.

| australianguitarmag.com.au
 | 13

FROM THE HEART

ON THE COMEDOWN FROM HER SUGAR RUSH, POP QUEEN JACK RIVER TAPS INTO A DEEPER, DARKER
AND MORE PERSONAL CORNER OF HER ARTISTRY WITH THE STRANGER HEART EP. WORDS BY MATT DORIA.

I
n case its Valentine’s Day release didn’t make record was about always pushing forward and special one that I don’t go anywhere without. And
it obvious enough, the title of Jack River’s new striving for something better, but this record’s then in the studio, I mainly use a Fender Strat and
record should let you know enough about its very here-and-now and personal, and I wanted I write a lot of things down on that. I’m not sure
subject matter. The seven-track Stranger Heart EP to explore a few specific feelings that I’ve been actually what bass we used because my co-producer
is another release jam-packed with ooey, gooey love experiencing. And just make sure that that layer Xavier [Dunn] pulled out his own bass for that. But
songs that’ll make you feel like you’re 15 and falling of realness is at the foundation of Jack River, and really, within the tracks, we layer so many guitars
head over heels for that one girl in your English class what I write next time as well. down that there likely isn’t any sound that comes
all over again. Except this time, you won’t be savagely from one single guitar.
rejected and embarrassed in front of all your mates, I know that on top of this EP, you’re hard at
and Holly Rankin is upping the stakes by adding a work on a second full-length for 2021… How That off-pink Strat has become pretty
piquant dose of peculiarity to the mix. far along into that adventure are you? synonymous with your live show. What’s
Following on from the bright and buoyant debut LP I’ve got the bones down and I know what it’ll your connection with it?
Sugar Mountain – a proper sequel to which is already sound like – a lot of that is still in my head, but I actually stole it off my old guitarist, Alex
on the cards – Rankin has ditched the bubblegum I’ve got the name and the sound, and the kind of Bennison – he was playing it in the band for about
sweetness, instead toying with seven uniquely potent reasoning I have for all of that, and that’s kind of two years, and I just couldn’t stop staring at it.
and provoking reappropriations of the concept of love. how I start something. It makes it really easy to He plays it far better than me, but when you find
After the twinkly synth-based opener “Lonely colour in the lines with songs, or identify the right a guitar that feels like home – the colour and the
Hunter” hints at a trippy, kaleidoscopic journey ahead, songs to kind of fit into that mold. design, and the feel of it, and then the sound and
Rankin jumps straight into the sonic black hole with the tone… I don’t know, it’s just my favourite little
the gauzy and droning “Later Flight”, its crunchy So do you see this EP as a bridge between guitar, and onstage it’s totally my safety blanket.
‘90s pop riffs digging like daggers into the slits that Sugar Mountain and LP2, or did you go into
her honeyed quips open up. With an immediate dip this with the intention of it being a distinct Speaking of the live show, what do you have
in tone, the acoustic “Night Song” hits especially standalone chapter in your discography? planned for this EP’s touring cycle?
hard in its drunken melancholy. Rankin takes full I guess they’re all kind of standalone works. I It’s actually quite a sneaky little release
advantage of the emotional ebb and flow that her actually kind of had the ideas for all three of these without too much touring attached. We’re
loud-soft contrasts imbue – “Dark Star” is another records before Sugar Mountain came out, and kind planning to do a few interesting little things,
dancefloor-ready pop anthem, followed instantly by of foresaw the path that I wanted my music and but we’re not really going to properly tour this
another lowkey lighter-swayer in “Closer”. Production writing to take. It’s not a trilogy in the way that they EP. I’m heading over to the US to play South by
shines on the double dose of downbeat dreariness in relate – they’re not all linked together like the Lord Southwest, and then new music is going to follow
“Infinity Roses” and “80sHD”, leaving us sated and Of The Rings series or something. It’s more just that not too long after. So there will be some shows,
feeling sappy in love, but certainly hungry for more. these are three phases of things that I know I need just a little latter in the year, maybe.
With the EP now making hearts flutter all over to explore to feel accomplished as a writer.
the world, we got down to business with Rankin to I saw you put the call out on Facebook that
find out what makes this Stranger Heart beat. What guitars did you have with you for the you’re keen to play a bunch of weddings...
recording of Strange Heart? That is correct! Because this EP is all about love
So my first impression of this EP was that it A broad range, really. I have a little baby Taylor and the heart, it felt like a cool idea to put a call
feels a bit darker and a bit more personal that I take everywhere – it fits on the plane and you out and say, “I will come to your wedding or party
than Sugar Mountain. Was the intention to can take it wherever you want, so for that reason I and sing for you.” And we got a really f***ing
sort of take the listener a little deeper down end up writing a lot on it. I bought that one when I overwhelming response to that – we received, like,
the rabbithole and get a little weirder after was in New York, and it was like the one trip where close to 1,000 entries! The entries are absolutely
establishing a connection on LP1? I was like, “I don’t need to take a guitar! It’s all wild: there was someone’s parents’ 60th, there’s a
Yeah, definitely. I guess I felt I needed to good. I’ll survive without writing.” And I just felt so boatwarming party in there, a bunch dog parties,
after Sugar Mountain, which was kind of big thirsty without a guitar, like, I needed to just have and of course weddings – so many weddings! So it’s
and bold, and lyrically quite aspirational. That something beside me. So yeah, that Taylor is a going to be a very fun little adventure for us.
14 | FEATURE

CALL OF THE WILD

AHEAD OF THEIR FIRST LOCAL TOUR IN ALMOST HALF A DECADE, SHEER MAG SHREDDER KYLE SEELY
TOUCHES ON THE KEYS TO A PERFECT SHOW AND HIS PERFECT ‘70S ROCK-CHANNELLING TONE.
WORDS BY MATT DORIA.

W
.ith their cool and crunchy sound fans of playing shows where no matter what size venue got a little bit more complicated, I started feeling like
drawing from equal measures of ‘70s it is, we keep the energy up, and people dance and I needed some more control, so I started using pedals
cigarette-rock and ‘90s anarcho-punk, it’s have a lot of fun. But y’know, we don’t really do a lot to for distortion, and some chorus and stuff like that. But
no surprise that Sheer Mag have rapidly established try and get that to happen, or anything. We just let it I really don’t use all that much stuff. I definitely don’t
themselves as one of the best bands on the circuit. be, and what it will be is what it will be, I guess. have one of those crazy pedalboards with a million bits
If you managed to catch them on their 2016 tour of and pieces – I have one of those small single-bar pedal
Australian dives, you’ll remember the spine-tickling So the new LP, A Distant Call, came out a trains with chorus, compression and a Rat, and that’s
waves of belting basslines, punishing percussion little over half a year ago. How’s it been kind of it. One thing that I’ve been using a lot lately,
and gloriously gory guitar riffs, all tied together with touring that so far? and I’m going to really try to dial in for the Australian
some of the world’s most raucous and riveting howls We’ve played about half the songs on the album live. tour, is the TC Electronics Munich pedal.
courtesy of frontwoman Tina Halladay. When you put out a record, you think you know what
But if you didn’t wind up getting sweaty as all hell songs are going to be the ones that everyone likes the What are you digging about the Munich?
with us back then (firstly, shame on you, and secondly) most, like, “Oh, this is definitely the single because… I It’s pretty sweet. You run your signal into it, and
never fear, for you’re about to have a second chance think it’s the single.” But it really takes a few months then it runs through two stereo outs. The wet signal
at copping the inexplicable intensity that is Sheer Mag for your fans to let you know what the bangers really has a slight varying delay on it that you can control
live in concert. The Philly-native powerhouse are back are. I suppose it’s a lot easier to measure when you the speed of, and it also has a slight varying pitch-
on Oz shores for the 2020 Brunswick Music Festival, have shit like streaming because you can just look at shift built in. So it has one knob that’s basically just
and they’re also playing a short stack of headlining which songs are getting all the plays. But yeah, some tightness, and it’s similar to a chorus but with some
sideshows up and down the east coast (and Tassie). of the songs that we’ve played so far have gotten to randomness built in. It sounds the closest to basically
Ahead of what’s sure to be one of the year’s most be the more memorable ones. We like to build a set doubling a guitar that I’ve been able to hear out of a
unforgettable tours, Australian Guitar caught up with around what we’ve done and what we haven’t done, pedal, and it’s perfect because a big part of the Sheer
lead axeman Kyle Seely – who, it turns out, loves us so and what we think people want to see. Mag sound is two guitars playing the exact same thing,
much that he recently moved to Melbourne! sort of panned left and right.
What axes are you jamming on right now?
What is it that you’d say makes a Sheer Mag For the last couple of years, I’ve been using I love that you’ve got your rig down to a
set so special and unique? Telecasters – I’ve played the National Deluxe Tele with point where it’s simple, but dialled in
That’s something that I’ve maybe changed my tune three pickups on all of our records but A Distant Call. enough to be perfect for your style.
to a bit over the years. When we first started, my idea Around 2016 I started using a Gibson SG, because I I mean, Sheer Mag is so much less about the way
of the perfect punk or rock ’n’ roll set would be no felt like it was easier for me to dial in humbuckers to the guitar sounds – we spend the majority of our time
talking, no showiness… Just cut to the chase, play the get the live sound I wanted. I switched over to the SG just trying to write good parts. We have specific ideas
songs – hit it and quit it, basically. But now I think as for our last record because we wanted to go for a bit about production that we want to achieve with the
we’ve gotten to be a little bit bigger of a band, we’ve more of a new-wave British heavy metal sound, and guitar, but I’m really not the kind of guy who would try
put more emphasis on wanting to connect a bit more Gibsons and humbuckers are the perfect sort of vibe out ten different distortion pedals to pick the one I like.
with our fans. At least I have – I think playing to a for that. But recently, I’ve actually been thinking about As long as it sounds relatively distorted, I’m not really
bigger room, you sort of have to do that a little bit. So how much I miss the Tele. I didn’t bring any with me complaining. The needs are pretty limited.
the set has gotten a bit longer and we do a little bit here, so I might have buy one. I’m thinking about going
more between songs to keep the atmosphere alive. back to something with single coils. I’ve been going
to this really awesome shop in Melbourne, the Music Sheer Mag are touring Australia in March:
Especially given how intense and personal Swop Shop, which has a bunch of sweet old Japanese
some of your songs are, do you find it Fernandes and Grecos, some of the knockoff Teles Thu 19th Estonian House, Brunswick VIC
important to include the audience in the set? from the ‘80s and stuff like that. Sat 21st Altar Bar, Hobart TAS
I think the audience gets as much out of your set as Wed 25th Red Rattler, Sydney NSW
you’re willing to give them. There’s work on either side Are you a big believer in having a ridiculous Thu 26th La La La’s, Wollongong NSW
to make the show really memorable, but I don’t always pedalboard by your side at all times? Fri 27th The Zoo, Brisbane QLD
think that that stuff makes for an awesome show. I was firmly against it from the get-go of the band. Sat 28th Meadow Festival, Melbourne VIC
Sometimes it just happens organically, and sometimes I basically just used a BOSS Seven-Band EQ with the
you can work too hard at it and things get awkward. mids boosted a little bit for solos, and then I would Tickets are on sale now via sheer-mag.com
It depends on the night, really, but we’ve always been just play my guitar right through a Marshall. But as we

| australianguitarmag.com.au
 | 15

IN IT FOR THE LONG HAUL

WITH THEIR CRASH-HOT DEBUT ALBUM IN TOW, THE VANNS ARE DIVING HEADFIRST INTO THE NEW
DECADE WITH THEIR HEARTS ON FIRE AND THEIR SIGHTS SET FOR THE STARS. WORDS BY MATT DORIA.

S
mack bang in the centre of a venn diagram set. I guess we’re known as a bit of a rock band, have now, and it was just a match made in heaven.
between ‘grandiose rock anthems that not even but at the same time we have songs – especially on Straight up. I had to buy it.
stadiums could hold’, ‘fervently passionate the record – that are quite a bit different. There’s
authenticity’ and ‘infectious larrikin spirit that makes a of bit lowkey piano-y and acoustic stuff. We just Are you running the same setup live that you
them impossible to hate’, The Vanns deserved every want to be able to show that we’re more than just did on Through The Walls?
second of their monolithic breakthrough at the turn a rock band. We’re just going to keep challenging Yeah, on the record I literally just used the same
of the decade. Last year’s debut album Through The the expectations of what a band should be – setup I have running now. I think I might’ve even
Wall was an instant hit upon release, bolstered by especially with the next album, we want to keep just used the Fender – but now I have the option of
colossally captivating jams like the lively and luminous changing and evolving as a band. We just don’t running stereo, which I like because it’s so much
“Mother”, energy-brewing “Deranged” and furiously want to stay on the straight and narrow of bands fatter. I didn’t change it around too much. But I
fiery “How Was I Supposed To Know”. like AC/DC, where they just churn the same album worked a lot with Oscar Dawson from Holy Holy,
But much like the bands they draw influence out every few years with different lyrics. who’s a total guitar freak. That was great, especially
from (see: Gang Of Youths, Kings Of Leon, Queen), with Cam’s tones because he does a lot of the big
something truly magical happens when The Vanns I know the Walls cycle has only just begun, lead riffs, and that’s where we’d all nerd out and try
take to the stage. Their live show is a masterpiece in but have you already started to think about all the different pedals.
calculated mayhem – loose enough that you know where a second album could take the band?
it’s not choreographed, but so staunch and slick that Yeah. We just want to keep pushing the Do you have a favourite song to play from it?
at times you can forget you’re watching an actual boundaries of who we are as musicians, and maybe There’s one called “Chelsea”, which is completely
live band, and not Hollywood’s approximation of take a bit of a risk, stylistically, because that’s also different to anything we’d done before. It’s a slow,
one à la Bohemian Rhapsody. At the core of their exciting. I think we’re definitely going to be working spill-your-heart-out kind of love song, but the crowd
wall-to-wall calamity is the double axe attack from towards a new album soon, but I mean, if we roll out reacts really strongly to it. On the last tour, people
Jimmy Vann and Cameron Little, both shredders a couple of one-off singles before that, we’re not were singing it word-for-word, and I was like, “This is
punishing their fretboards with licks that belt from going to be too upset at all. so weird!” Because it was so new as well. And there’s
the PA like snakes at their prey. another song called “Fake Friends”, the last track on
As they gear up to continue their conquest of What guitars do you find yourself jamming the album, which just goes nuts. As soon as we start
Australian stages, we got a hold of Vann himself to out on these days? playing it, there’s just this weird, positive energy in
chat about just what it is that makes a Vanns gig so My main one for The Vanns is a Gibson ES-325. the room. It’s really cool. It’s exciting for us that we
great, and the secret weapons he wields to conjure It’s from 1972 so it’s pretty old, but I just instantly can do such diverse things throughout the set and
those spellbindingly searing tones. fell in love with it as soon as I played it. And then have people not lose interest. They’re always show
I’m using a Fender Stratocaster Deluxe as well, interest in different ways, whether it be with a mosh
Having seen you blokes rip it up onstage a which is awesome. I pretty much just use those pit or singing every lyric, or staring at Cam do this
few times, I feel confident in saying it’s in two for the electric stuff, and then I have a Maton beautiful guitar solo or whatever.
concert that The Vanns truly shine. Do you acoustic as well for the quieter songs. I don’t have
consider yourselves primarily a live band? that many fancy pedals – Cam’s our dude for all of
That’s probably our strongest point, and that’s what that stuff. I’m just running a Fender DeVille and a The Vanns are touring Australia in
we strive to really nail. Because if you’re not good live, Marshall JCM, which I stereo. I might whack on a March and April:
what’s the point? Y’know when you listen to a band tube screamer or a Fulltone Full-Drive pedal, just
and you’re like, “Ah, this is sick,” and you see them live for a bit of a boost, then a bit of reverb and maybe Thu Mar 19th Altar Bar, Hobart TAS
and you’re just a bit disappointed? I can’t stand that. some delay here and there. Fri Mar 20th Howler, Melbourne VIC
But I don’t know, man – something just happens when Sat Mar 21st Uni Bar, Adelaide SA
we get up there. We just kind of turn into animals, What is it about that ’72 Gibson ES-325 that Fri Mar 27th Sol Bar, Sunshine Coast QLD
especially with Cammy on the guitars up there just you dig so much? Sat Mar 28th Crowbar, Brisbane QLD
shredding non-stop for the whole thing. To try and I used to always play a Strat, but I wanted to get Fri Apr 3rd Uni Bar, Wollongong NSW
capture that in a studio atmosphere is kind of difficult. a hollowbody because they sing better. They’ve Sat Apr 4th Cambridge Hotel, Newcastle NSW
got a bit more of a voice to them. I was playing Thu Apr 9th Howler, Melbourne VIC
So what goes into crafting a performance a Les Paul Goldtop with the mini humbuckers in Fri Apr 17th Indian Ocean Hotel, Perth WA
that you feel best reflects what The Vanns it, which is what the ES-325 has, and I was like,
are and represent? “Woah, these pickups sound amazing!” And then Tickets are on sale now via thevannsband.com
We want to create a lot of light and shade in the I saw those same pickups in the hollowbody that I
16 | FEATURE

BIG RISKS
BIGGER REWARDS
LOVE ‘EM OR HATE ‘EM, THE CHATS HAVE CORNERED THE AUSSIE PUNK SCENE LIKE MOST BANDS WISH THEY
COULD. BUT WHAT IS IT ABOUT THIS SUNNY COAST TRIO THAT MAKES IT ALL CLICK? WORDS BY MATT DORIA.

F
ew things in this world are more powerful than released “Smoko” that we were like, “Oh shit, we’re a There’s a beauty in the simplicity of a Chats
the collective unity of the internet when a funny real band!” That video blew up, and suddenly it was song. They’re not half-assed, but you’re also
video starts to spread. When they dropped the like, “We could actually do something with this”. We not f***ing around with any over-the-top
low-budget video for “Smoko” – a belting bastion of didn’t realise that we could actually be anything. rock ’n’ roll wankery.
blue-collar Aussie humour – in July 2017, The Chats Not overthinking things is definitely a big thing
didn’t think they would end up selling out theatres So after you went viral, did you have to learn with us. Even if I’m laying down a guitar solo or a
around the country, touring the world with their how to be a “proper” band, or did you slip more complicated part, it’s the same sort of thing:
heroes or dropping their debut album at #1 on the into the touring and stuff pretty easily? I’ll give myself three takes and pick the best one.
ARIA Charts (with critical praise to boot). But alas, We had to do a bit of learning. It was definitely a big With the solo on “Identity Theft”, that was my first
social media buckled under the hilarity of Eamon transition, going from our mate’s shed to travelling take. I recorded that and went, “Oh nah, that’s
Sandwith and co’s loose and lively tradie-punk anthem, everywhere and actually being up on stages in front rubbish, let me do it again,” and I ended up doing
and two years later – the spark kept alight by follow-up of people. It was an easy decision to make, though. As it like six more times. I went, “F***, I’m never going
gems like “Pub Feed” and “Identity Theft” – The Chats soon as the opportunity came, we went, “Okay, we’re to get it!” And then the guy who was recording
are all but engraved into the annals of Australian actually doing this. Let’s give it a go!” with us went, “I think you got it on the first one,”
music history. According to guitarist Josh ‘Pricey’ Price, so I listened back, and it was totally the first one.
the crash-hot debut album High Risk Behaviour is just What was it like catching the attention of I actually had to re-learn my own solo because I
the beginning for these Sunny Coast scamps. people like Dave Grohl and Josh Homme? Are couldn’t figure out how to do it again [laughs].
you a part of the rock ’n’ roll Illuminati now?
Let’s go way back to the start: how did you I will say, it was pretty special when Dave Grohl How long would you say it took to piece the
first discover the guitar? came up to me and called me Pricey, gave me a hug album together from start to finish?
My dad introduced me to the guitar when I was, and said, “Y’know, I’m a big fan.” He watched our It probably took us about ten months, because
like, four years old. My dad’s a complete guitar freak, whole set from the side of the stage, and we had a we were in and out and doing tours and stuff in-
so I grew up in a house where there’s always been beer with him after. That was surreal. And then Josh between. We’d go [into the studio] for a day or two
good guitars everywhere – we’re pretty much just Homme as well, taking us under his wing on that at a time here and there, and then we’d go on tour
stepping over guitars. I used to play at the pub every Australian tour, showing us the ropes and how to for a month. And you can hear that throughout the
Sunday with him with I was ten years old, just playing drink tequila properly… Yeah, it’s been nuts. album, how our sound sort of changed a little bit.
acoustic guitars together and learning the ropes. And
then I went to school, and it wasn’t until grade 12 that How does a Chats song usually come to life? What gear were you rocking?
I had to do a music assignment with a band. I’d always Eamon’s a really good lyricist, so he’ll write a lot I mostly used a Jazzmaster, and I had a Takamine
either played by myself or with another guitarist, but I of things. Either he’ll bring in a song in or I’ll bring a GX-100 for some extra little bits. And we’d just go
actually had a really good time with the band. So then song in, and we basically just smash it out. I’ll write through the Fender Twin with a Soul Food pedal and
Matt and Eamon were like, “Oi, do you want to join a little riff or something, and we’ll just jam it out a Hotcake. I don’t really use that many pedals; you
us?” And yeah, the rest is history. until it works, really. And when we record, we tend can actually hear that the guitar tone gets a little bit
to just do it quickly – we’ve been doing this thing better throughout the album, and that’s just because
Did you kick things off with any ambitions where we’ll do three takes of a song, pick the best I bought the Soul Food halfway through recording.
to be where you are now as a band? one and call it there.
Absolutely not. No one even spoke about it, really. Why is the Jazzmaster your go-to guitar?
We just sort of hung out and shot the shit. We had Are you tracking live? I don’t know – it’s weird, because I’ve got two of
another mate with us as well – he couldn’t really play Always. That way you don’t really get stuck on a lot them, right, and one of them doesn’t sound as good
that much, but he had this big shed at his parents’ of songs, and you don’t end up wasting a whole day as the other one. Maybe it’s because of the way it’s
place and he put us up. He was just like, “Yeah, I guess on one part – you just slap it down and move on, and wired or something, but it just sounds really fat…
we can jam here,” so we used to jam there just about if you really want to do it again later down the track, But not fat at all, if you know what I mean? It sounds
every night during school. And then when school you can do it at the end. We try to just keep the ball like a good rhythm guitar, and then it just unleashes
finished, we just kept jamming. It wasn’t until we rolling and make sure we’re not stuck in a rut. on the Hotcake.

| australianguitarmag.com.au
 | 19

COLOURING OUTSIDE THE LINES

ON HER POWERFULLY PERSONAL SECOND ALBUM, SOCCER MOMMY UPS THE ANTE WITH A BROAD
SONIC AND THEMATIC PALATE THAT SHOWS HER TRUE STRENGTHS AS A SONGWRITER.
WORDS BY MATT DORIA.

A
t age 22, Tennessee trailblazer Sophie Allison a record, to need it to feel kind of perfect and the studio with me. Julian [Powell, guitar] has
– better known by her indie-rock alter ego feel intentional, and feel like it has this sense of a been a part of the experience since Clean – he
Soccer Mommy – has lived through more beginning, and then rising and falling action, and played guitar on that and had all these ideas for
than her fair share of ups and downs. Her music, often then closure – just like a book or a movie would production and stuff, so he was a big part of that
cool and charismatic as Allison herself, is defined by have. And closure for me doesn’t always have to be record. I always wanted to have the band that I play
its heart-on-sleeve honesty, quips that cut straight literal closure, it can just be the final thing you have with in the studio with me and be able to capture
down to the soul, and fretwork so fanciful it demands to say on a certain topic. But it’s always been really that live feeling, but I just didn’t really have that
repeat listens. She’s been compared to artists like important to me to have those arcs, and make at the time beyond Julian. We had a lot of people
Mitski and Avril Lavigne (both of whom she also cites sure that it feels like if you were to sit down and interchanging. Graeme [Goetz, bass] might’ve been
as major influences), but really, pairing Soccer Mommy listen to this record the whole way through, it had a in the band when Clean was recorded, but it was
with anyone else is doing Allison an injustice – she’s coherent story and a journey – even if it’s not in the a recent thing, and the rest of the band was still
a Strat-wielding superstar all of her own accord; a same way that a book would have a story. kind of phasing in and out. Plus, we didn’t have any
luminary of the lowkey, and one to watch with a keen money to send everybody up to New York.
eye as she continues catapulting through the ranks. Do you find that writing on the road is a
On her second album Color Theory, Allison good way to ground yourself and take your Did you find that jamming and recording live
separates her thematic abstractions into three mind away from the chaos of touring? was crucial in capturing the feeling you were
distinct categories marked by – shock and awe – For me, writing on the road feels no different than after on Color Theory?
colours. Blue represents sadness and depression; writing at home. I think when the inspiration for a Oh, absolutely! When I think of a song like
yellow represents physical and emotional illness; and song starts coming to me, I just want to finish it, and “Crawling In My Skin”, I can’t help but think about
gray represents darkness, emptiness and loss. Driven I don’t really feel any barrier to that based on where I how it was originally an 18-minute recording. There
by a notably prickly and raw mix – an intentional am. As long as I can get some time alone or at least a was literally, like, 12 minutes of us just playing this
byproduct of Allison recording the album live with little bit of privacy, I can work on that and get in that insanely long outro and trying out all these ideas
members of her touring band (in her own words, headspace. I don’t know that it really detracted from between me and Julian and Graeme. There were a
she wanted the experience of listening to it to feel any of crazy stuff that happens on tour. I’m a Gemini – couple of tracks where we kind of went on forever,
like “finding a dusty old cassette tape that’s become my life is chaotic at home too. It’s constant chaos. just trying to capture the magic that happens when
messed up over time”) – it’s a viscerally poignant and Writing is even a little bit chaotic for me. Most things in we go and we practise at Rodrigo’s [Avendano,
powerful listen. Naturally, we had to learn more. life are chaos in my book. guitar] house and spend hours jamming together.

How did you come up with the concept of Do you feel like the experiences you had on What axes were you slinging in the Color
using colours to represent the different tour rubbed off on the songs themselves? Theory sessions?
emotions and themes you explore on LP2? I can listen to like one or two of the songs and I have this ’94 custom shop Strat with a holographic
I think I’ve always associated certain colours with remember exactly where I was. Like “Yellow Is The purple sparkle, and that’s basically my baby. And then
themes, even just from reading stuff in high school Color Of Her Eyes” – that imagery is hugely inspired we had a couple of Teles from the studio, and I brought
and college. Specific types of imagery are often used by the city I was in the day I wrote those verses. We my Jaguar in with me.
to make a theme really prominent, and [allow the were spending a day in Holyhead in the UK, which
writer to] continue bringing it up without having to use was just the most beautiful little seaside town where What makes that ’94 Strat so special to you?
any exact dialogue around it. I’ve always been really we could walk to the ocean right from where we I wish you could see it, then you’d know! The
intrigued by the idea of an album having these little were staying. It was so beautiful and the imagery finish has these sparkling red, blue and purple
themes that reoccur a lot and carry that same weight was really inspiring to me, and I got the verses for flakes in it so that when the light hits the guitar,
and same idea, and using them to paint a more vivid “Yellow” down that day. I didn’t even write them it shines really bright and creates all these crazy
picture for the listener. And colour has been a huge down. I didn’t even have a guitar – they just kind colours. But it also just sounds amazing. It has these
one for me. People often associate a lot of different of came into my head. The imagery in that song is pickups that I really love on it – I don’t remember
feelings with random colours that have random obviously about the water, looking out at the water the name of them, but they sound incredible. It’s
meanings to them, and I think that’s really cool. and having this kind of moment, and that’s literally just a really nice guitar that also happens to be the
what I was doing in Holyhead. perfect visual experience. I bought it for myself
Did you find that having a colour-coordinated for my birthday one year – I found it while I was
palate for those themes helped you shape How did you find the experience of recording scrolling aimlessly on Reverb and I was like, “Oh
this record structurally? with a full band? my God, that is literally the coolest guitar I have
I think I’ve always been one, when I’m making I had always wanted to bring the band into ever seen in my life.” And I got it! It’s mine!
20 | FEATURE

30TH TIME’S THE CHARM

A LEADING FORCE IN THE RISE OF ALT-METAL, HELMET HAVE BEEN SHREDDING UP A STORM SINCE 1989. THIS
YEAR, THEY’RE TAKING THEIR JAW-DROPPING ANNIVERSARY SET DOWN UNDER. WORDS BY MATT DORIA.

W
hether it be for their unique collision of both pretty funny because we were just so raw and I know it’s pathetic, but as a single pathetic loser who
jazz guitar stylings and blistering metal, so spastic. And my first time in Australia was just lives for the guitar, that specific guitar is very special to
their pioneering use of Drop D tuning or complete mayhem. We loved it so much – I think we me. But the good news is that ESP did their Relic. They
the simple fact that most of their tracks go as hard had a bottle of Coopers in our hand the entire time copied it perfectly, and I have about six of those and
today as they did three decades ago, there’s a good we were there. We just had such a fun time, and we they all sound incredible. They have the exact same
chance you’re either a Helmet fan (you are reading ended up getting super close with the Mudhoney guys pickups, the exact same bangs and scuffs – everything.
an article about them, after all), or you would be if because we were on the Big Day Out tour together;
you gave one of their records a spin. there was six or seven of us that were just inseparable. What is it about the Horizon that roped you
Since 1989, frontman (and noted ESP Horizon in and made a lifelong lover out of you?
fanboy) Page Hamilton has been steering the ship What would you say has kept Helmet Henry Bogdan, our bass player, was friends with a
in one of the world’s most revered alt-metal acts, relevant in an industry that can often be so guy named Baker Rorick, who was at ESP, and he was
delivering consistently crushing onslaughts of callous in cycling through bands and trends? very hip to all the new underground bands in New
floor-shaking riffs and fist-pumping beats – and I’ve always thought it was the ‘no bullshit’ aspect York. And he was like, “Man, your band is so cool, you
though their lineup has never been all too sturdy, of the music and the band. We’re not really much to should consider coming over and working with us”.
Helmet have always rebuilt themselves to be look at, and there’s no show, but we put our all into I didn’t know anything about them. They were just
stronger and more savage with each incarnation. the music. Once I kind of got on this path and decided a little shop on 48th Street and York, and they had
Now, they’re in celebration mode, travelling the to form my own band – after my great experience maybe 50 guitars on sale. They let me go in and play
world with a 30-track setlist diving deep into every with Band Of Susans and playing with Glenn Branca as many as I wanted, and they were all really nice,
corner of the Helmet story, from 1990’s rough and and Rhys Chatham and all these amazing people in but I just loved the feel of this one.
rabid Strap It On to 2016’s sharp and sizzling Dead New York – I kind of had an idea what was lacking in You can pick up an electric guitar and tell how it’s
To The World. To say we can’t wait for the tour to heavy music for me. And John and Henry and Peter, going to sound, kind of, by playing it acoustically –
reach our shores would be the understatement we were all on the same page. I think I’ve always just by the resonance and the feel of the fretboard –
of a lifetime – but if there’s one Helmet fan who’s taken that approach to it – I just write the songs that I and so I tried it out like that I was just like, “This is a
seriously over the moon with their 30th anniversary want to hear, and don’t worry about what the current really great guitar.” They sold it to me for, like, $600.
tour, it’s Hamilton himself. flavour of the month is. That was the artist’s deal at the time. I didn’t even
I’ve had conversations with bands where they were know my band was going to do as well as we did, but
Have you found it especially gratifying to be like, “Yeah, we got on a major label and we tried to I’ve never paid ESP for another guitar since then –
able to show equal love to all chapters of the do X, Y, and Z, and it didn’t work for us”. And Victor and I probably have 30 guitars from them. I use the
Helmet story, and not have to focus on any from Prong said to me recently, “Man, I really admire shit out of them. I just did a guitar track on one of the
one particular record? the way you never got knocked off your course. You movies I’m scoring with an LTD that they set up for
Yeah, definitely. It’s fun to do stuff like this – we’re just stuck to your guns.” I guess maybe we could have me. They’re great tools. And Matt [Masciandaro, CEO]
doing a lot of songs that had either never been been bigger if we tried to do whatever was trendy is sort of like my big brother, I just love him.
performed live before, or hadn’t been performed at whatever point in time, but I’m not really worried
since 1990, ’91, ’92. We’ve pulled out a lot of the cover about that. I’m happy with the music that we play!
songs that we’ve done for tribute albums, like Music Helmet are touring Australia in May:
For Our Mother Ocean and the Jerky Boys movie, Almost synonymous with Helmet itself is
and those have been great to dust off. Those had your classic red ESP Horizon. Is that still Fri 1st The Zoo, Brisbane QLD
never been played live before, which is crazy because your go-to axe today? Sat 2nd Croxton Bandroom, Melbourne VIC
they’re really fun to do. And then we’ve been doing It is! Unfortunately the original model doesn’t travel Sun 3rd The Rosemount, Perth WA
a couple of really old Helmet songs from back in the out of the country with me, because it got lost by my Wed 6th Cambridge Hotel, Newcastle NSW
first years of the band. We hadn’t done “Your Head” tech. About ten years ago, we were in Mexico City, and Wed 13th Uni Bar, Hobart TAS
since, like, ‘91 or ‘92. I think the last time we did it was he had to fly it over to Minneapolis because we were Thu 14th The Gov, Adelaide SA
at the Big Day Out in ‘93. I actually just mixed that starting a tour somewhere in the Midwest after we Fri 15th Metro Theatre, Sydney NSW
show, by the way – we’re going to release it this year. got back from Mexico. And he never told me – his wife Sat 16th Croxton Bandroom, Melbourne VIC
told him not to tell me that the guitar got lost by Air Sun 17th The Zoo, Brisbane QLD
Bombshell alert! Mexicana for ten days. He didn’t tell me for a year or
Yeah man, we’ve got CBGBs from 1990 and the two after that, and I just decided that it wasn’t worth Tickets are on sale now via helmetmusic.com
Big Day Out from the Meantime tour, which were it to me to risk losing it.

| australianguitarmag.com.au
 | 21

ANOTHER CHAPTER
OF BAD DECISIONS
STILL THE UNDEFEATED CHAMPIONS OF ROUGH AND RUGGED ROCK ’N’ ROLL, CLUTCH ARE GEARING
UP TO BRING THEIR IDIOSYNCRATIC INTENSITY BACK DOWN UNDER FOR ANOTHER ROUND.
WORDS BY MATT DORIA.

W
ith the exception of keyboardist Mick now is going back and relearning our old songs. board next to the normal one. But I’m going to try
Schauer (who sadly passed away last to reign that in a little bit and bring a smaller board
year), Maryland metal titans Clutch Do you find yourself going, “I forgot how with me to Australia.
have remained a tight-knit band of the same four cool this song was” when you come across a
brothers since their inception in 1991. Their strength cut that you haven’t played in a while? What are the essentials for you?
behind the scenes is reflected in their output: a Oh yeah, absolutely. I mean, we had to relearn I have been known to over-wah [laughs]. One of
whopping twelve studio albums of thick ’n’ fierce all of the songs from Blast Tyrant when we played my favourite effects of all time is the reverse effect
guitar lovin’ without so much as an inch of fat that New Year’s Eve show, and that was a real fun in the Line 6 DL4. I absolutely love the reverse
around the edges. Ditto for their live shows, which experience, getting to hear those songs with a fresh effect in there, and that always sounds good when
have reaped lashings of (well-deserved) acclaim for ear and play them all for the first time in years and we jam on “Big News I” or something a little more
their tight, catalogue-spanning setlists, top-notch years. I think some of them we’ve never even played slow and funky – that DL4 is my go-to pedal for stuff
banter, and performances so powerful it’s downright live when we put that record out. like that. And then basically, ever since the ‘90s, I’ve
impossible to sit through them – moshing is a must been looking for a good Leslie effect. I only recently
for all able-bodied punters, no excuses. What’s your guitarsenal looking like? started using the Strymon Lex, and I just love that
Four years since their stunning Psychic Warfare On the past couple of tours I’ve been playing thing. It sounds phenomenal. That’s the closest to a
theatre tour (which some of us at AG still haven’t a Les Paul custom, and this guitar from a small real Leslie I’ve ever heard in a pedal.
recovered from), Clutch are set to make the company called Seger. Those have been my two
journey back Down Under this year for the third main guitars in the US, at least – we’ll see what Have you started thinking about a potential
local instalment of the iconic Download festival. happens in Australia. I was thinking about bringing a 13th Clutch album?
According to lead guitarist Tim Sult, fans can couple of SGs down, actually. I’m open to anything. I Yes. Absolutely. We’re going to write as much as
expect a career-defining avalanche of hits from all actually ordered a couple of Bankers recently, too – possible, starting tomorrow. We’ve gotten together
chapters of the Clutch anthology – including their I haven’t gotten them yet, but those will probably be a few times since [Book Of Bad Decisions] came out
most recent opus, 2018’s Book Of Bad Decisions – making their debuts sometime in the spring. and we’ve laid down a couple of new ideas. But now
and a balls-to-the-wall performance that serves as that we have a few months off, we’re going to start
a giant metaphorical middle finger to anyone that What makes that custom Les Paul the to get a little more serious about it.
thinks Clutch have gotten “old”. definitive model for you?
Well, the neck profile is just super comfortable After almost 30 years and 12 albums in the
How do you feel about making your way over and fun to play. I usually love Les Paul customs, but bag, how do you keep things feeling fresh
to shred up a storm at Download? they’re really not the most fun guitar to play. This and exciting for yourselves?
For us, it’s always fun to play big festivals with one is actually fun to play. I enjoy playing shows with Well, we just try to continue writing new songs,
huge bands. We get a big kick out of playing in it, so that’s really the most important thing to me. really. We don’t really rest on the old songs. Our
front of huge crowds, and playing in front of people And with the pickups, I actually threw in a DiMarzio biggest song is probably “Electric Worry”, which
who’ve never heard of us before. Making new fans is Super Distortion, which is what I used to do all came out a long time ago. We probably could’ve just
always the best. That’s really what it’s all about – just the time back in the ‘90s. I just figured I would try stopped there, but we didn’t. We kept going. And
getting out there and playing the best set you can. something that felt a little more retro, and it brought we’re going to keep going.
the guitar to life a little bit more. I also put in some
How do you squeeze 30 years of Clutch down new wiring. When I bought it, it sounded terrible and
into one hour of rocking? Do you have to it wouldn’t stay in tune. But I fixed everything, and Clutch are touring Australia in March:
be selective about what eras you represent? now it sounds okay and stays in tune.
Over the past few years we’ve been playing a lot Fri 20th Download Festival, Melbourne VIC
of more recent stuff, but with the last couple of tours So, pedalboards – does size really matter? Sat 21st Download Festival, Sydney NSW
in particular, we’ve started to add some more older Honestly, the more simple, the better. On the last
stuff into the mix. We even played one of our albums US tour we did, I think my pedalboard started to Tickets are on sale now via
in its entirety, Blast Tyrant, on New Year’s Eve. That grow a little too much. I ended up with a little bit of downloadfestival.com.au
was really fun. So for us, the most important thing an extra pedal board as well – just like a little buddy
22 | FEATURE

THE COAST WITH THE MOST

THE JOURNEY TO IT WAS ALL KINDS OF CHAOTIC, BUT POP-ROCK POWERHOUSE BEST COAST HAVE ARRIVED
AT LP4 WITH SOME OF THEIR SHARPEST AND MOST STUNNING MATERIAL YET. WORDS BY MATT DORIA.

R
ounding out a trilogy of pop-rock scrapbooks approach on this record where I asked Bobb to be really helpful to me if you wrote some songs – write
that gripped the 2010s with fiery flurries involved in writing some of the music, which I’ve never whatever comes into your head and send it to me, and
of jangly guitars and pumping beats, Best done before. I’ve always written every single song on I’ll see if that works for me.”
Coast made inhumanly massive waves with their the records, but I went to him and was like, “I think And so he sent me these four songs, and when I
2015 effort, California Nights. From triple j to it might be beneficial for me to have some music to heard the music, I was excited because it was very
Tumblr, anyone worth their bangs and bucket hat try and write lyrics to, could you try to send me some different to the music that I would’ve written. It was
was head over heels for Best Coast. They were stuff?” So it all took shape in a lot of different phases different in terms of the chords he used and the
ready to rule the world. and in different ways. And then all of a sudden, it was changes he came up with – it allowed me to just focus
Alas, fate had other plans for the duo. In a press like, “Okay, there’s a record here. I guess it’s time to for a second on like what I wanted to say and how
release, Cosentino described falling into a deep go in and record stuff.” I wanted to say it. And then the rest of it was done
artistic slump after the California Nights cycle exactly the same way that every other Best Coast
wrapped: “I felt creatively paralysed. I couldn’t write When you started building the foundations record has been done – it was me writing the bones
music. There was so much bubbling inside of me, so of Always Tomorrow, did you have an idea of of a song and sending it to Bobb and saying, “Okay,
many things happening and so much to process, but what you wanted the record to be? here’s my idea for this one,” and then him sort of
I couldn’t get any of it out. I was miserable and felt I didn’t have an idea of what I wanted it to sound fleshing it out from a distance.
like nothing was ever going to change.” like, but I knew that I was at this phase in my Bobb and I are very weird collaborators. We don’t sit
Of course, Cosentino was eventually able to crawl development as an artist – and also as a woman – in a room and write stuff together. We tried it once and
out from her creative pothole, and now Best Coast are where I was like, “I just want to make a record that it just didn’t work. But it was exciting to give him the
ready to resume world domination with the punchy like feels different, and feels empowering, and feels space to create differently on this record. And it’s not
and polychromatic Always Tomorrow. In the five years inspiring.” And I didn’t know sonically what that that I never allowed that in the past – it was just that
between drinks (sans the decidedly non-alcoholic Best was going to be – I knew I wanted to take risks and I had my own specific way of doing things, and I was
Kids record), Cosentino and shredder Bobb Bruno liberties, but I also didn’t really know what that meant. always like, “Okay, here’s the song.”
have grown a trillionfold as musicians: LP4 is more I didn’t know if it meant I was going to go in and
diverse, dynamic and danceable, and the shredding make a synth album, or some weird kind of record Was this a particularly gratifying record for
at play is simply jaw-dropping. that was going to make people scratch their heads. I you to make as a guitarist?
As she explains to Australian Guitar, making the just knew that I was ready to do something different. I’m going to tell you the truth here: I love the guitar,
new album work meant Cosentino had to take some And I think what happened is that lyrically, this is the and I’ve been playing the guitar since I was 13. The
broad leaps in a bold new direction. Best Coast record that most stands out on its own. guitar was my first instrument. It’s a part of me. But
It’s very different than the other records, and I think with this record, I really wanted to step into the role
How did you start to disseminate those thematically is really where that comes from. It’s a of a singer. I played my rhythm guitar on a lot of the
feelings of artistic paralysis? very hopeful record. It has a lot of resolution. It’s really songs, but I really wanted to focus a lot more seriously
Well it’s funny, because it sort of happened in weird like the grown-up version of Bethany is appearing on on my vocals, so I kind of stepped out of the way and
phases. The first song I wrote for this record was this record, whereas in the past, it was sort of like I was let Bobb take the lead – which made sense, because
“Everything Has Changed”, and that was the first song grappling with existence. Now I’m kind of like, “Okay, I he’s obviously the lead guitarist in this band.
I had written in a really long time that I was able to think I have it somewhat figured out now.” I would say that this record was the first where
even look at and go, “Wow, okay, I’m proud of this.” I really just allowed myself to be the singer of this
Because everything up until that point, I would write What was the creative dynamic like between band, and not let myself worry so much – because I’m
and then I would immediately hate. For a while there, yourself and Bobb on LP4? very insecure about my guitar playing. I’m insecure
it was just like, “Oh God, I’m never going to be able I think there’s four songs on the record that Bobb about a billion things, but guitar playing is one
to write music again.” So when I wrote that song, it wrote the music to. I went to him in the beginning and where I really struggle. I’m not a virtuoso. I’m not a
was sort of like the beginning of a period where I was I was like, “Listen, I’m not feeling super inspired. I’m shredder. I can play really good rhythm guitar and I
able to say, “Okay, I think I have something here, and I feeling really stressed out and feeling like I put way can play power chords really well, so for me to get
think it’s coming back to me.” too much pressure on myself as an artist.” I felt like that stuff out of the way, do my rhythm parts and
And then slowly, over time, ideas would trickle I was really struggling with my expectations of self, then say, “Okay, I’m going to leave the rest to you
out and I would sit and write. I took like a different so I went to him and was just like, “I think it might be guys,” that was really cool.

| australianguitarmag.com.au
24 | FEATURE

All’s fair in love and

METALCORE
AFTER DIPPING THEIR TOES IN THE POP WORLD FOR ALBUM #6, THE AMITY AFFLICTION ARE
BACK TO RIPPING FACES OFF WITH THEIR POWERFULLY PUNCHY MOSH-POP ANTHEMS. EXCEPT
NOW, THEY’RE DOING SO WITH A WHOLE NEW WORLD OF EXPERIENCE UNDER THEIR BELTS.

WORDS BY MATT DORIA.

| australianguitarmag.com.au
 | 25

M
astering the paradoxical see-saw
between buoyant, fists-in-the-air pop
anthems and merciless, skull-rattling
metalcore, The Amity Affliction have fast become
one of Australia’s most beloved alternative acts.
2018 saw them take their biggest stylistic swing
to date, the somewhat controversial Misery album
leaning into a glitchier, more experimental side of
Amity better suited for dancefloors than mosh pits.
Though critics were largely onboard with Amity
2: Electric Boogaloo, longtime fans of the band –
namely, those who cut their teeth whipping limbs to
“Anchors” and had a fierce thirst for breakdowns –
were less enamoured. And the Gympie crew were
expecting as much from the start.
“I think we took a left turn with Misery on
purpose,” says guitarist Dan Brown, “Because we
thought, ‘We can’t just keep doing the same thing.’
And so we went in with a new producer and brought
some new kids of sounds with us, always knowing
that we’d do [Misery], and then straight after follow
it up with what we learned from that. So we put
Misery out, and there were mixed reviews – it did
really well in the States because the majority of our
fans there already liked that pop sound, but when
we toured it in Europe, we went, ‘Okay, they’re
not really into this.’ Which makes sense, because
European metal is really popular.”
But whether or not Misery hit the mark didn’t
matter music to The Amity Affliction – they were
always looking at the bigger picture. “We always
had the plan to put [Misery] out, learn some new
tricks from making it, and then take what we
learned and quickly do another record,” Brown
says. “And I think it paid off! We got to take our
original formula, for lack of a better word, apply to
it what we learned by taking such a big left turn,
and go into the next record with a more open mind
and more knowledge about music in general.”
The end result of the band’s experiment is
a record that screams “The Amity Affliction”
right from the title: Everyone Loves You… Once
You Leave Them. In many ways, LP7 acts as the
definitive Amity album: there’s the big, barbarous
breakdowns and ultra gory metal moments that
echo 2008’s Severed Ties; there’s the overly catchy
choruses and mammoth mosh-pop melodies they ballgame!’ Listening to all of these new bands… There’s some
peaked with on 2014’s Let The Ocean Take Me; and just of the heaviest stuff I’ve ever heard out there – it’s so much
enough of the glitchy, rave-ready grooves of Misery that heavier than anything was before we even did Misery. And I
prove the quartet stepped off the rollercoaster with a decent think we were able to come back into that [heavy scene] with a
set of new skills to play with. fresh outlook, instead of being lost in the change of style.”
A sizeable chunk of education came from the band holing As for his playing style on Everyone Loves You, Brown
up with producer Matt Squire, whose workmanship spreads endeavoured to up the ante with techniques that were “a bit
to all corners of the genre spectrum, from Ariana Grande to faster and a bit more intense, but also more classy at the
Underoath. “We learned a lot of different ways to think about same time.” His setup involved the decidedly un-metal (yet
writing songs,” Brown says of his takeaways from working with undeniably classic) Fender Stratocaster, decked out with an
Squire. “I won’t go too far into them, but he’s got all these EMG 81 humbucker for a meatier, more mosh-ready tone. The
theories about why certain things work and why they don’t – why signal chain couldn’t be more straightforward: “I just grabbed
that word in that lyric shouldn’t be that word, and why that exact a 5150 and put a tube screamer in front of it in a Mesa cab,”
note needs to be there. He’s got such a vast knowledge of pop Brown says. “Yeah, right back to your standard metalcore
music, and we picked up as much as we could from him about setup. I think what gave it a bit more character was just that
how to make the most of that.” I was using a Fender guitar, because [the Strat] definitely has
Of course, at the core of The Amity Affliction lies their the heart of those heavier-style guitars, but it still has a bit of
knack for making angsty kids around the globe want to punch that rock-y tone as well.”
holes in brick walls. As best reflected on bookending cuts If there’s one thing Brown reckons will stick around from the
“All My Friends Are Dead” and “Catatonia”, the heavy stuff is Misery experiment in perpetuity, it’s his love for the humble
undoubtedly what shines most on Everyone Loves You. It’s in Fender Stratocaster. “It’s just a classic,” he gushes. “It’s has
part a callback to the gristly hardcore that Amity first made such a great warm tone, and the mid-low EQ in the actual
a name for themselves with. But toying with blastbeats and wood itself resonates so nicely. And then I’ve paired that up
new guitar techniques, it also represents a searing slither of with a heavy amp, so it works really well for our sound. Fender
uncharted territory for the band. are nice enough that they give me really top-of-the-line stuff,
“I think during those two years we spent doing Misery, so I’m just privileged to even play them. I play a maple neck
heavy music changed hugely,” Brown says. “It always is most of the time live, but I used a Strat with a rosewood neck
changing, but stepping away from it for a while and coming in the studio, just to take that twang out of the top end and
back, we were a bit like, ‘Oh, okay… This is a whole new give it a bit more of a rounded-off sound.”
26 | FEATURE

.the ballad of the

Juveniles.
AFTER SLOGGING IT OUT FOR A DECADE TO ESTABLISH
THEMSELVES AS ONE OF AUSTRALIA’S BIGGEST AND
BEST ROCK BANDS, KINGSWOOD HAVE CUT THEMSELVES
A
fter kicking down the walls of the
Australian pub scene with the raw, punchy
rock ’n’ roll spirit of 2014’s Microscopic
Wars, Kingswood set their sights to the world and,
armed with a groovier, more electronically intoned
pop-rock slant, made a monolith of themselves
in 2017’s acclaimed After Hours, Close To Dawn.
And though it showed a major stylistic shift for the
Melbourne-native foursome, the album proved an
instant hit with fans and critics alike. Before long,
Kingswood were a household name, any venue
they’d plaster on a tour poster sold out before the
presales could end…
And then they found themselves in a creative
FREE FROM THE TIES OF EXPECTATION WEIGHING THEM ditch. Throughout the bulk of 2018, the band wrote
two albums worth of material, both of which they
DOWN. THE END RESULT IS THEIR LOOSEST, LOUDEST saw enough value in to draft up release plans. But
AND MOST LOVEABLE ALBUM YET. each time they got close to the finish line, they’d
step back, look at the material and decide, “This
isn’t right.” There was an elongated stretch of
WORDS BY MATT DORIA existential crises for the band, where it seemed

| australianguitarmag.com.au
 | 27

thing you want to do is go and do all of that again,

y’know? I wanted to get away from that so much Kingswood are touring Australia in March
that I forgot why I loved it in the first place.” and beyond:
For his first few shots at writing for Kingswood’s
third album, Laska searched for inspiration Thu Mar 12th Barwon Club Hotel, Geelong VIC
in a suitcase; he’d completed writing sessions Fri Mar 13th Corner Hotel, Melbourne VIC
everywhere from Berlin to New York to London, Sat Mar 14th Volta Arts & Culture, Ballarat VIC
desperate to squeeze influence out of scenery. Wed Mar 18th Kambri ANU, Canberra ACT
But the wide-eyed excitement of touring the world Thu Mar 19th Uni Bar, Wollongong NSW
hardly translated to good music. It was when he Fri Mar 20th Oxford Art Factory, Sydney NSW
teamed up with frequent collaborator and producer Sat Mar 21st Cambridge Hotel, Newcastle NSW
Eddie Spear that he found his creativity start to Thu Mar 26th The Gov, Adelaide SA
blossom again. The album that would become Fri Mar 27th The Rosemount, Perth WA
Juveniles (named so for the aforementioned energy Sat Mar 28th Prince Of Wales Hotel, Bunbury WA
Kingswood felt when it clicked what they were Sun Mar 29th Freo.Social, Fremantle WA
searching for) was ultimately written between Thu Apr 2nd The Triffid, Brisbane QLD
Melbourne and their second home of Nashville Thu Apr 9th Republic Bar, Hobart TAS
(where Spear is based), the homeliness of their Sat Apr 11th Saloon Bar, Launceston TAS
surroundings helping to light their spark. Sun Apr 12th Bridge Forth Hotel, Devonport TAS
“It was that combined with the shows in Thu Apr 16th The Northern, Byron Bay NSW
Germany where we found ourselves again,” Laska Fri Apr 17th Miami Marketta, Gold Coast QLD
admits. “Songwriting became very much like a Thu Jun 25th The Jack Hotel, Cairns QLD
diary and a self-help guide for ourselves. Being Fri Jun 26th Otherwise Bar, Townsville QLD
grounded there helped us realise who we were Sat Jun 27th McGuires Hotel, Mackay QLD
and what we were doing, and really challenged
the songs and challenged why we were writing Tickets are on sale now via
them, and whether we actually loved them. kingswoodband.com
And then when we finally pieced it together,
we realised, ‘This feels good because it’s come
from one place.’ It wasn’t frenetically designed
through circumstance, like, ‘Oh, we’re in Berlin personal and they all have their own history, their
today, let’s book a studio for the afternoon,’ or, own name and all of that. They’re like friends to me
‘We’ve got a few days in Brisbane next month, – they’re extensions of who I am.
let’s try to write a song there.’” “I’d always hated Strats, but when all of those
When you first pop your copy of Juveniles down Gibsons got stolen, I was like, ‘Alright, there’s gotta
on the turntable (this is assuming you’re all aboard be something about Strats that I’m just not seeing.
the Vinyl Revival Express), you’ll notice just how Everyone loves them, blah, blah, blah” – and then
much Kingswood have fallen back in love with the I went deep into Strat world. I’ve got, like, eight or
guitar. Though bright and bouncy as their poppiest nine Strats now. But then when we played those
cuts, album no. three is a six-string serenade shows in Germany and Austria, I was given this
through and through. If you’d ever questioned satin-like wine red Gibson 335 hollowbody, and I
Kingswood’s validity as a rock band before now, was just like, ‘Man, this feels great!’ It just had this
Juveniles serves to whip a metaphorical glove mojo to it. So I went home and I started to pull out
against your cheek. And as Laska gushes to all my other Gibsons; at the time I had a ’59 reissue
Australian Guitar (who else better to?), he’s always Les Paul, a Goldtop and a ’56, two 330s – an old one
wanted to indulge his inner rifflord as such. and a new one – a 335, an R6, an R8 and an R9.
“I love the guitar,” he says with a distinct “I fell in love with humbuckers again, and
bluntness. “I’ve loved it since the first time I saw then serendipitously, Gibson started back up
Back To The Future as a kid, when Marty grabs the in Australia. I was like, ‘Man, this has to be a
335 at the end. I didn’t know what it was, but I just sign!’ So I called up Chris Taylor, who’s their new
loved it and I loved the sound it made – especially director, and we just got on like a house on fire.
when he starts to ramp it up. I remember being I don’t think he even knew who the band was,
four or five years old and hearing the blues, and not but he’s a total guitar guy in the same way that
knowing what the hell it was but that it just moved I am, and we just spoke for hours. We became
like a worthy follow-up to After Hours would never me so much. Discovering the sound of pentatonics instant friends, and he invited me to the Custom
materialise. That was until they were booked for a and how they can be manipulated… I was always Shop in Nashville when we were recording there
few one-off shows in Europe circa mid-2019, and drawn to it in such an intense, spiritual way.” – he was there for an event or something, and I
in the process of digging through their catalogue If he hadn’t warmed up to us before, diving into got to go in and pick my own tops out for some
to write a setlist, rekindled a love for the heavier, the arsenal of gear Laska used to record Juveniles replacement guitars. I got to walk through the
more guitar-driven bangers of their early releases. has him buzzing like a tween after one too many factory and choose everything, and I ended up
“We felt that juvenile energy that you get when red cordials. In addition to a pile of pedals that with the most amazing pieces.
you first pick up a guitar and buy your first drive would make any self-respecting gear nerd’s eyelids “I got this custom white Firebird with aged gold
pedal or amp,” lead shredder Alex Laska gushes, twinkle, the band found themselves pulling from an humbuckers, and a ’62 ES-335 Block – lightly aged,
“And you just dive in and you’re like, ‘Yes!’ It’s loud impossibly impressive collection of axes. one of four ever made. I was able to buy it all with
and it’s rebellious and it pisses off your parents, “I fell massively in love with Gibson again,” Laska the insurance money from all my robbed gear,
and it’s beautiful. And we just fell back in love with declares, spinning off into a lengthy anecdote of his which was amazing. And that’s what you hear on
that. We were like, ‘That’s it, that’s the soul of this adoration towards (and momentary lapse from) the the album. You’re hearing the R9, which is a reissue
band – what are we doing trying to be clever?’ I iconic brand. “It’s where I started off. My first guitar VOS from the Custom Shop; you’re hearing my
guess because we’d been going to the right for was an SG, and then my most prized possession Roy Orbison 335, which is in the video clip for ‘Say
so long, we wanted to pull really hard to the left. was a VOS Custom Shop Les Paul – a ’58 Plaintop in You Remember’; you’re hearing an ES-275, which
You spend pretty much your whole life cultivating Iced Tea that ended up being stolen. Our studio got is just one of the most beautiful guitars I’ve ever
your first album, and it gets released and you get robbed, and I had five amazing guitars stolen – an seen, and that’s in the video clip for ‘Bittersweet’;
recognised for it, but people don’t realise that old Kalamazoo from the ‘60s, a Custom Shop Roy you’re hearing the R6, the R8 and the ’66 330, and
you spent the entirety of your musical education Orbison 335, two Les Pauls and a Goldtop. It was then just a little bit of Jazzmaster – this beautiful
and development getting to that point. The last a massive blow for me, because my guitars are so Jazzmaster that I picked up in Nashville.”
28 | FEATURE

A
NEW
CHAPTER
IN L
istening to Marigold – the fourth album from New Jersey alt-country
titans Pinegrove – elicits a certain feeling of warmth; comfort; an

BLOOM
affirmation that you’re not alone in whatever personal storms
you’re currently weathering. The band achieve this by minimising the
distance between us and frontman Evan Hall. On previous records, the
outfit would revel in the breadth and looseness of a lo-fi mix – Hall says
that 2018’s Skylight, for example, “was supposed to sound like you’re just
in the room with us rehearsing” – which made them fun to listen to, but
difficult to connect with. But on Marigold, Hall’s vocals are emphatically
more distinct; it’s as if he’s singing directly to us, the instrumental
backings merely a bed for us to lie on together as he does.
“We were aiming for something more emotionally direct than
Skylight,” Hall says of Pinegrove’s more contained approach to
recording Marigold. “Introspection is certainly a theme throughout all
of my songwriting, but with Skylight, it was a pretty conceptual project.
There’s a lot about exploring the fourth wall, and performance, and
that sort of thing. We had this whole making-of documentary series,
EQUALLY MORE GROUNDED, INTIMATE AND Command + S, which basically allowed everyone to look in through
the window and see our process. But with this record, we imagined
BOLD, PINEGROVE REINVENT THEMSELVES FOR something a bit more buttoned-up that we could just hand to the
THEIR CAREER-DEFINING FOURTH ALBUM. Pinenuts out there and say, ‘I hope you like this.’ And with that, too, I
think you’ll hear a more sonically direct approach.”
Hall explains that each new Pinegrove record is, in a multitude of ways,
WORDS BY MATT DORIA. a response to its predecessors. There’s an overarching visual metaphor

| australianguitarmag.com.au
 | 29

to record Skylight and be able to document the

process more fluidly. But after finding immediate
success in ditching the traditional studio recording
process, the house became a central part of
Pinegrove’s ongoing operations. They live there
while they work, meaning the songs don’t just exist
as extensions of their creativity, but become exact
reflections of who they are in the moments they
choose to embrace those songs. Hall doesn’t see
Pinegrove ditching Amperland anytime soon… It
just doesn’t make sense to.
“When you’re given an album advance,” he says,
“You can go to a studio and use their mics and
consoles and equipment, and you leave with an
album in your hands. But you’ve got maybe a week
or two to make it work, and then that’s it. Or, we
figured, we could just buy a bunch of microphones,
pay rent for a year and do it ourselves. And then
you’re not limited by the hours of operation of
the studio, or the lack of space, or anything else.
We moved to a place where we don’t have any
neighbours to bother, so if we want to do some
drum takes at 1:00am, that’s not a problem. We
can work more patiently and more spontaneously
when we’re doing it on our own schedules – and so
far that’s worked for us.”
Having the freedom to work on their own terms
has rubbed off creatively on Pinegrove, too. “I think
that we’ve built our own sort of insular language,”
Hall says, “As far as our recording techniques and
arrangements go. If you’ve heard Pinegrove before,
you’ll notice that we like to switch tempos, and we’re
very sensitive to dynamic trajectories and stuff like
that – and perhaps rejecting more traditional song
structures when it doesn’t suit us. None of that feels
abnormal to us because we’ve been playing together
for so long; that’s just how we do it.”
One pivotal idiosyncrasy that sets Pinegrove
apart from their peers is the fact their lineup is
constantly in flux. Hall and Levine are the only
two “permanent” members in the band, with a
revolving cast of friends and colleagues dipping
in and out at will. There are five guitarists that
pop up on Marigold – Hall, Levine’s brothers Nick
and Michael, Josh Marré and Sam Skimmer – all
of whom have their own wholly unique setups and
skillsets. His main duties remaining behind the
mic, Hall keeps things relatively simple. “The other
players in the band all do have a bit of a taste
that he unravels – in the case of 2016’s Cardinal, he Marigold is testament to how much Pinegrove have for pedals,” he admits, “But honestly for me, on
envisioned “a bright bird landing in the branches of matured in all aspects of their operation. The LP my pedalboard you’ll find a tuner, a boost pedal,
a tree, or the spirit of creativity visiting your brain.” was self-recorded at Amperland – a rural farmhouse a volume pedal, and an EQ pedal for when I put
Skylight expands on that concept of welcoming and in upstate New York that Hall and drummer Zack acoustic guitar through.”
visitation – it’s a midnight jam session in which the Levine rent out – where the band would spend His guitarsenal on Marigold included some
listener is a fly on the wall – but Marigold grounds it. weeks on end tinkering with their sound, living and nondescript Stratocasters and the occasional
It’s a wake-up call to the morning after the jam, when breathing with the record as it took shape on its own Gibson hollowbody. He admits that he’s not too
all the other strangers have left and all that remains accord. And as Pinegrove continue to rack up years precious about what winds up in his hands when
is yourself, Pinegrove, and your collective hangovers. of experience in DIY production, their approach to it comes time to lay down a lick, but there is one
Thematically, Hall links it to the album’s titular flower. certain techniques has evolved and been reshaped. guitar that he holds near and dear: a one-of-its-
“The marigold is something that you go to,” he “I think we’ve absolutely gotten better at kind Larrivée acoustic that Hall has quite literally
says. “You visit the flower, which is stationary – it capturing the sounds in our heads,” Hall attests, lived with his entire life.
has roots. And there are different phases to it: “And at the same time, our vision is sort of shifting “My dad bought this particular guitar the week
sometimes it’s beautiful and bright, and sometimes too. When I recorded Mixtape One in 2010, I was I was born,” he says wistfully. “This is the guitar I
it’s nothing; it’s in hibernation. That was what like, ‘Y’know what? This is it. This really scratches remember him playing when I was a child – there
initially drew me to the marigold – exploring the the itch for me.’ And I can listen back on that and were all these times where if he wasn’t paying
liminal space between hibernation and being think, ‘Yeah, this is what I wanted to hear ten years enough attention to me or something, I would just
brightly in bloom. I thought that was a nice way ago, but it’s not what I want to hear anymore.’ I go over and detune his pegs while he was playing.
to explore the dualities that every person has – think we’ve grown a little bit with each effort – And not that he was planning on doing this when he
whether you’re feeling social or feeling private, not just in terms of our skill, either, but also the bought it, either, but he gave it to me as a gift for my
whether you’re feeling up or down, or whether precision of our vision… No rhyme intended.” 18th birthday. So that’s the one I had in college and
you’re horizontal because you’re sleeping or dead, The band initially rented what they would dub started writing Pinegrove songs on, and there’s a lot
or you’re energetic and running around, vertical.” Amperland – in tribute to the humble ampersand, of personal attachment there. I think we got some
On a technical wavelength, the hi-fi sound of a key element of Pinegrove’s imagery – solely great sounds out of it [on Marigold], too!”
30 | FEATURE

THE
ROAD TO
HEARTBREAK
CITY THE CRACKING NEW ALBUM FROM
BEACH SLANG ALMOST DIDN’T EXIST. BUT IT
DOES, AND IT’S BRILLIANT, AND IF NOTHING
ELSE, IT’LL MAKE YOU DESPERATE TO
TEST-DRIVE AN EPIPHONE DOT.

WORDS BY MATT DORIA

| australianguitarmag.com.au
 | 31

so quickly, it was like, ‘How much more of this two-

chord schlock do people need?’ I wanted to take a
little time and learn a third – maybe even a fourth –
chord. This thing matters so much to me and to the
people that have connected with it that I just didn’t
want it to be burned out. I didn’t want it to be one
of those things where it burns bright and then it’s
suddenly over. And then the second part of it was
that schlocky thing – I didn’t want to be pumping out
xerox copies of my own shit.”
It’s a struggle many artists find themselves
entangled in at a certain point: “Where am I going
with this?” It’s imperative for creative growth to build
on your sound and take it in new directions, but for a
lot of us, that’s a lot easier said than done. Readers
can (and should) look to 2018’s Everything Matters
But No One Is Listening – a lowkey reinvention of
Beach Slang’s catalogue released under the moniker
Quiet Slang – for an example of how Alex reckoned
with that struggle. In a bid to nudge himself out of
the comfort zone he’d established with the first two
Beach Slang records, he completely reworked the
formula of their contents. Because if he couldn’t
write an album that stood apart from them – at least
at first – disseminating their markup would be a
fruitful exercise.
“I felt that records one and two were sort of a
related narrative,” Alex explains, “And I think that if
I had done anything else along those lines again, it
would have been cheating, y’know? So I took a step
back, as a songwriter. And then I probably wrote,
like, five different versions of [The Deadbeat Bang
Of Heartbreak City] – just figuring out, ‘What the
hell do I really want this to be?’ All those songs I
threw away, it was like I was burning it down just to
build it back up.”
To finally beat his four-year bout of songwriter’s
anxiety, Alex looked way back, before Beach
best surmised by its buzzy title. Slang even existed. “I went back and listened to
“Y’know, it has this sort of reckless abandon and everything that turned me on when I was coming
tenderness to it,” he rhapsodises. “I like that sort up,” he says. “It was punk rock, classic rock, new
of sleazy poetry. When that lyric came out of me wave, folk, pop – I just absorbed all of that, and
when I was writing the song ‘Bam Rang Rang’, right that’s when it sort of clicked. It should’ve been
away I was like, ‘That’s it. That’s the title of this obvious from the beginning – I was like, ‘I’m just
record.’ It feels like a full-body spit in the face of going to write some big mushy love letter to rock
sadness, and I think I needed that. I needed to feel ’n’ roll.’ And that’s what [The Deadbeat Bang Of
that lift, because in the off-period we had between Heartbreak City] is.”
this record and the last one, I was really starting to If there’s one thing that will never change with
unravel in this sort of weirdo downtime.” Beach Slang, it’s the presence of Alex’s iconic white-
“I just started to come undone,” Alex admits. and-gold Epiphone Dot – a guitar so imperatively
“I was asking myself, ‘What is it that I do if I’m not synonymous with his playing that to see him without
playing my guitar?’ But I think it felt nice to sort of it feels like something has to be wrong. Its brash and
figure myself out inside of all of that confusion. The biting lead tones can be heard on virtually every one
title was a product of that: it was like a lonely snarl. of the band’s tracks (it’s even the focal point of the
It just fell out of me when I was standing up in my Heartbreak City cover art), and if Alex has any say in
little room at home, trying to write this record and the matter, that won’t change anytime soon.

T
he product of a mind so sharp and distinctive – bash out all these chords. I just spit it out in this “I’ll go down with that thing for sure,” he
that of frontman (and sole remaining founder) stream of consciousness, and when I looked back on chuckles. “They actually just rebuilt me another
James Alex – Beach Slang are one of a select it, I was like, ‘Woah, where did that come from!?’” one – I beat the hell out of the other ones so much
bands who don’t even need to sell listeners on Alex is one of those songwriters who – like that they built me another one to make sure I
the music their records contain, merely because many of us can relate – cracks under the weight wouldn’t have to play a show without it. It’s just my
the titles alone do it perfectly. Case in point: The of boredom. Beach Slang’s debut album, the agile thing, man! I’d feel like Superman without a cape if I
Deadbeat Bang Of Heartbreak City. You read those and angular Things We Do To Find People Who Feel played something else!
six words on a record jacket and you’re immediately Like Us, crash-landed on the punk scene at the tail “It has this robustness that I just don’t get when
roped in. It’s poetic; political; powerful. You ask of 2015; less than a year of back-to-back touring I play on a solidbody electric,” Alex continues. “I’ve
yourself, “What could such a gut-punching string of and aggressive self-promo later, they followed it up used a full hollowbody before, and that was almost
buzzwords possibly sound like? I need to buy this with A Loud Bash Of Teenage Feelings. That it took too big – I felt like I needed to grease my hair back
record and find out.” almost four years for Heartbreak City to materialise and play Brian Setzer songs or something, y’know?
Okay, so maybe that exact scenario doesn’t seems downright unbelievable. But especially after But then with the Dot, it just felt perfect. I could
happen in this current age of Spotify and instant LP2 gathered such an impassioned response from hit it and it had this really big, fat tone to it, but it
gratification – but you just know that if Beach Slang its fans, Alex had a cardinal epiphany: Beach Slang 3 still had the bite of something like an SG. It melded
were kicking 30 years ago, they’d have a solid slew would make or break the band, and rushing it would those two worlds that I dig so much, and the action
of fans earned via curious crate-digging alone. And almost guarantee the latter. on it just feels so… We were just meant to fall in
as Alex attests, their curiosity would be rewarded, “There was this fear that we were burning people love, y’know? Cupid shot the arrow and it nailed the
because The Deadbeat Bang Of Heartbreak City is out,” he admits. “We were offering so much stuff two of us together. It was meant to be.”
32 | FEATURE

THE RANCH OF LOVE

&TORTURE
WHAT HAPPENS WHEN YOU CROSS ONE OF POP’S MOST
WHOLESOME AND LOVEABLE BANDS WITH ONE OF ROCK’S MOST
STONY AND MERCILESS PRODUCERS? IN THE CASE OF GROUPLOVE’S
NEW ALBUM, THE ANSWER IS HONESTLY QUITE SURPRISING

WORDS BY MATT DORIA

| australianguitarmag.com.au
 | 33

A
t one point, in some whimsical alternate because I had a mild nervous breakdown – and not
universe, the new album from LA pop-rockers just because of the shit I was going through in my
Grouplove could’ve been a gruff ’n’ grungy life and relationships, but because of this crazy,
love-letter to the ‘90s. The quintet holed themselves transformative experience that I was having.”
up in the small coastal town of Inverness, Northern In addition to a stint at Larrabee Studios in LA,
California, where they poured their collective heart where they worked with pop legend Malay, Grouplove
and soul into their fretboards in pursuit of a lo-fi brought much of Healer to life with Sitek at the Sonic
masterpiece worthy of Double J’s feature album circa Ranch. The world’s largest residential recording
’96. As lead guitarist Andrew Wessen rhapsodises, “It property (housing five full-scale studios), it’s situated
was this incredible breakthrough where we all stayed on a breathtakingly massive – not to mention,
up ’til five in the morning every day, eyes rolled back, downright idyllic – pecan orchard bordering Mexico
making this crazy guitar record.” and the US’ Rio Grande. This is relevant, of course,
And then David Sitek happened. Not to say that Sitek because in a post-Trump world where anyone with skin
marred what would eventually grow to become Healer – darker than beige is a walking target for bigotry, cities
an ultra sprightly smoothie of towering choruses, around the US-Mexico border aren’t as serene as they
caramel-sticky hooks and big, belting guitar melodies – once were – which led to Grouplove finding inspiration
or that he himself is anyone worthy of complaint; his along some more jagged paths.
work with bands like TV On The Radio, Weezer and “While we were there,” Wessen explains, “There
the Yeah Yeah Yeahs is nothing short of extraordinary. were a lot of protests and a lot of unrest regarding
Though it would’ve been great to hear Grouplove the border in the US – we could literally hear the
all fuzzed up and furious, Sitek allowed the band to megaphones of people protesting, and all the migrant
channel their inner virtuosos and reach a new level of camps and everything. One of the songs on this record
musical nirvana; to unleash a reservoir of creativity is called ‘Promises’, and that speaks directly to our
that not even they knew was there until he came along. feelings about that, sort of reflecting on the world that
“We were thick as thieves right away,” Wessen we’re in now and our frustration with certain things.
says of the band’s immediate meshing with Sitek. “It And so there are elements on this record, too, where I
was this beautiful explosion of inspiration and chaos feel like there’s some more deliberate lyrical messages
and creative expression, where, starting with our and musical themes.”
second or third night at Sonic Ranch, we just started One of the more positive things to note about Sonic
to write the best songs of our lives every night. Most Ranch is that by proxy of its five studios housing some
of the stuff we did with Dave on this record, which of the world’s most prestigious rock bands on a daily
I think is seven of the 11 songs, is literally what basis since 1989, it’s racked up an incredible collection
was done in those very first days – everything you of gear – the last proper count had it scratched up to
hear is the first thing someone played or the first over 55 vintage and modern guitars, 50 vintage and
idea someone had. He gave us no time to overthink mod amps, and 54 guitar pedals. And in the midst of
things, so everything ended up being this raw his whirlwind time in the booth, Wessen did what any
gut-punch of an interpretation. of us would and strived to get his hands on as much of
“Because usually when you make a record, you the arsenal as possible.
have so much time to overthink and overplay it, and “I don’t even know what guitar was in my hand half
sit there stressing about playing the line perfectly the time I was there,” he laughs. “It’s a gear junkie’s
or doing 25 takes, or whatever you do to walk away paradise; there were all these rare ‘50s, ‘60s, ‘70s
feeling like you justified your musicianship. And Stats, Teles, Les Pauls… I played some crazy 12-string
honestly, when you do it like that, all the spirit is gone Gibson, I know that. Dave made me buy this ’73
by the time you have a record. But with Dave, you Yamaha off him – he was trying to guilt me into it, like,
literally had one take – maybe two – and that was ‘I guess you guys don’t want to write the best f***ing
it. There was no going, ‘Hey man, I think I’d actually song on your record, ‘cause he doesn’t want to buy this
prefer…’ You either show up and throw down, or you guitar off me.’ Because he wanted to buy an MPC, but
do what you do and you just have to live with it. And he was like, ‘I need Wessy to buy this guitar so I can
that just made us all step up as musicians and artists, use the money to buy the MPC.’ So I ended up buying
which was really exciting. this guitar off Dave, but it’s is epic because all these
“Honestly, I think we needed that. It was something insane players like Dave Navarro, Rivers Cuomo…
we all embraced and enjoyed, especially after being in Everyone who’s recorded there in the past ten years
a band together for nine years. That feeling of being has played this guitar.”
pushed was really amazing.” As exciting as it was being surrounded by walls
As is typical of stories where Sitek is a central of incredible equipment, Wessen learned quickly
character, Wessen’s weekend of musical masochism not to make his drooling too obvious. After all,
brought him to some interesting peaks – including Sonic Ranch isn’t a museum, and Grouplove weren’t
one where he was almost pushed over the edge in a there as tourists.
bout of chaotic anxiety. “There wasn’t a lot of ooh-ing and ahh-ing over
“On the first day, I thought he was dead,” Wessen the vintage gear because that’s just what Dave and
says, not a hint of exaggeration in his tone. “I honestly Tony are about,” Wessen says. “It’s not some revered
thought David had died. Because he was like, ‘Yeah, thing where they’re like, ‘Oh my God, we all must sit
meet me and [engineer] Richie at 1pm.’ 1:00pm rolls here and talk about the greatness of this guitar!’ It
around – two, three, four, five, six, seven… Six hours. was like, ‘Yeah, there’s a $20,000 guitar laying up
No Dave. So I’m like, ‘Is he dead? Is this motherf***er against the couch, next to a bong and a PS4 controller.
dead?’ But no, he was just sleeping because he’d been It was kind of insane – the first night I was like,
up ’til 10am the night before. And that’s how the dude ‘Uh, is this okay!? People are partying around this
lives – he works all day, every day, and that’s his whole however-many-thousand-dollar guitar!’ But Tony was
life; his dedication to art and music.” just so cool about everything being used. And I get it.
“You know this as a journalist: everyone always “My brother and I are surfers, and our motto is that
says, ‘Oh, we were living and breathing the record,’ no board is meant to be just put on a wall and stared
but half the time it’s f***ing bullshit. But we were at. You’re supposed to f***ing ride them. Tony and
actually living and breathing the record, on a level Dave are the same with their guitars, where they go,
that was… Honestly, at some points it wasn’t chill. ‘Just play it. Stop fawning over it and enjoy what it was
There was one point where I didn’t sleep for days made to do, which is f***ing kick ass.”
SUBSCRIBE TO FOR

A LINE 6 HX STOMP $
VALUED
1,099!
AT
COMPACT PROFESSIONAL
GUITAR PROCESSOR
Pushing the limits of how much high-class pedalboard, or even in the pocket of a gig Thanks to our good mates at
tech can squeeze into such a small chassis, bag. There are over 300 amps, cabs, and Yamaha Music, we’ve got one
the Line 6 HX Stomp is a professional-grade effects onboard, including a looper.
of the incredible new Line 6 HX
guitar processor that delivers the sound The HX Stomp contains all the same
Stomp units to give away.
of Helix amps, cabs, and effects in an ultra HX models found in the Helix family of
compact pedal. Whether you prefer to play products, as well as the legacy effects
through a traditional amp-and-pedal setup, library from Line 6’s M-Series pedals, and For your chance to discover a
or go direct onstage or in the studio, the HX stompbox modellers such as the DL4. whole new dimension of guitar
Stomp seamlessly integrates into a variety The possibilities are almost endless: use modelling technology, subscribe
of environments and applications. it as a “super stompbox”, a backup or travel and let us know in 25 words or
Utilising the same DSP and HX Modelling rig, an add-on tone expander when combined less what your idea of the
technology as its bigger Helix brethren, the with other modellers, an audio interface, or perfect guitar tone is.
HX Stomp nonetheless fits easily onto a even a complete guitar or bass rig.
YOUR CHANCE TO
EVERY ISSUE OF GREAT REASONS
WIN
AUSTRALIAN GUITAR INCLUDES TO SUBSCRIBE
• The hottest interviews and artist • Get 12 issues for only $99 – save
features $32 on the retail cover price
• Product and gear reviews to keep • Chance to WIN a Line 6 HX
you in the know Stomp compact professional
guitar processor
• Tabs and technique lessons for all
levels of guitarists • Never miss an issue

D MUCH MORE! • Delivery direct to your door

AN

Two easy ways to subscribe to Australian Guitar Magazine:

visit techmags.com.au or call (02) 8227 6486
Terms & Conditions apply – see website for full details. Competition entries close 06/05/2020.
36 | COVER STORY

VIOLENT SOHO
JUST ANOTHER
DAY IN THE OFFICE
WITH 2016’S CHART-DOMINATING WACO, GRUNGE-PUNK REVIVAL
OVERLORDS VIOLENT SOHO WERE AT THE TIPPY TOP OF THEIR
GAME – AND BEFORE LONG, EVERY BUDDING ROCK BAND IN THE
COUNTRY WANTED TO BE LIKE THEM. NOW, AFTER A FEW YEARS IN
HIBERNATION, MANSFIELD’S FINEST ARE BACK AND READY TO DO
IT ALL OVER AGAIN WITH ALBUM #5: THE SHARP AND SPRIGHTLY
EVERYTHING IS A-OK. AND EVEN THOUGH THEY’VE SETTLED INTO
THEIR SHOES AS ONE OF THE BIGGEST ROCK BANDS IN AUSTRALIA,
THEY’RE KEEPING THINGS DECIDEDLY LOWKEY THIS TIME AROUND.

WORDS BY MATT DORIA

STUDIO PHOTOS BY IAN LAIDLAW

O
ur story begins at the 2017 edition of it), and then bassist Luke Henery took the amp and
Australia’s biggest regional touring festival, smashed that too, because f*** it, why not?
Groovin The Moo. Headlining the mainstage “People have sent us photos of the bits of drum kit
is post-grunge powerhouse Violent Soho, still riding and they have in their lounge rooms – one person even
high on the waves made by their monolithic fourth has a quad box framed up,” chuckles lead guitarist
album, WACO. For a post-internet music scene that James Tidswell. “Life itself was pretty hectic for
seems to churn through a new set of obsessions every everyone, so we were just blowing off a bit of steam.”
other week, that WACO was still on everybody’s lips It was a well-earned capstone for Soho. When the
a year after release was no small accomplishment WACO era kicked off, they were comfortably selling
for the Mansfield foursome. But as far as they were out thousand-cap theatres and ringing in the sunset at
concerned, WACO had run its course – Groovin would boutique festivals like Mountain Sounds. By no means
be the last distortion-slathered nail in its coffin, and were they a ‘small’ band, but there was no reason for
the band were eager to give it one hell of a send-off. them to be overwhelmed by their popularity, either.
“It was more like a party than anything we felt But not even Soho – who’d already seen their hype
obliged to be at,” describes vocalist and rhythm boom once when “Covered In Chrome” became an
guitarist Luke Boerdam. “I remember thinking, ‘Wow, overnight hit – could predict just how fervently crowds
we’ve never taken shows less seriously than this.’ And would leap the hype train for WACO. It spawned six
we were headlining!” lucrative singles – more than half the album itself, all
The grand crescendo was their hourlong onslaught of which made the cut in Triple J’s Hottest 100 of 2016 – 
in Western Australia’s idyllic port city of Bunbury, and by the end of its run, the band were packing out
where after the last rasping guitar wails of “Scrape venues like Brisbane’s 9,500-capacity Riverstage.
It” rang out, the band channelled their inner ‘90s “The goal was always, like, ‘Let’s get to a point
rock dogs and beat the everliving shit out of their where we could play Ric’s Bar’,” Boerdam says, “Or
equipment. Tuning pegs bounced off amp heads maybe The Zoo. The Zoo is 450-cap, so to then hit
when Boerdam tested the strength of his axe against the Riverstage… It was like, ‘Oh f***, this is out of our
the foot of the stage (spoiler: even the firmest of control now.’ The cool thing about [smaller] shows is
fretboards burst when you put enough muscle in that everyone’s right there and you can see everyone’s

| australianguitarmag.com.au
| 37
38 | COVER STORY

face. But over the years, it becomes more and Tidswell dove headfirst into the deep end of Aussie
more just like a sea of bodies. It really does take rock’s new golden age, founding a new home for
your breath away – you look out into the crowd and up-and-coming punks in Domestic La La Records.
you’re like, ‘Wait, that’s people!? ’” Having always been close to Soho’s own release
So began two years of relative quiet for Violent plans, it was a long time coming for him.
Soho – the ‘Silent Slowho’ era, if you will. The “I got involved with Violent Soho because I
band are adamant that we not call it a hiatus, wanted to put out their music,” he says. “I didn’t
because they never agreed between themselves even play the guitar back then. I called it Victim
to acknowledge their cogs bogging to a halt – “I Records at the time and I sold my car to pay for
don’t think our band could ever be ‘done’,” Tidswell the first EP. So as soon as the opportunity came over the years, so why end that now?”
stresses – but after such an intense and tireless up to do a record label on [Domestic La La’s] scale, The independence they have under I OH YOU’s
grind on the back of WACO, they were, admittedly, it just made sense.” roof is a crucial part of the narrative. Freedom is
feeling pretty burnt out. By signing bands with the same passionate something the band holds close to its collective
They’d also noticed first-hand the rising trend morals and DIY ethos as Soho, and knowing how to heart – mostly because they can’t stand the inner
in bands influenced by themselves copping crack the code to a great pop-influenced rock jam, workings of music’s business side. “We went to the
mainstream success. Acts like WAAX, Dear Seattle, Tidswell’s first year pioneering Domestic La La was first AIR Awards,” Boerdam snickers, “And we ended
Tired Lion and Hockey Dad – all cut from the same nothing short of enormous, with its second looking up leaving early because we were just like, ‘This is
grungy, punky, retro-tinged alt-rock cloth – were even bigger. He takes a hands-on approach sourcing too industry!’ We had everyone around us going,
making waves on the Js and packing out theatres talent for the label – we’ve bumped into him in the ‘Dude, you don’t realise, this is the small part of the
of their own; it’s not that Soho felt they’d been pits at every BIGSOUND since 2016, for example – industry,’ and we were just like, ‘Yeah, f*** that.’”
usurped in the rock scene, but they didn’t feel like and works closely with the artists he takes under Tidswell continues, “They all went, ‘What does it
they necessarily needed to carry its torch anymore. his wing. In many ways, it’s a continuation of a cycle feel like to win the Independent Artist Award?’ And
“It was almost like a feeling of, ‘Wow, there’s that Tidswell is enamoured to be involved in. we were like, ‘This is not independent!!!’ Carlton
all these kids doing it, and they’re doing it really “I feel super lucky,” he says, his smile as genuine Dry were sponsoring the whole thing – that gave it
well, so there’s no point in us doing it too if they’re as it is wide. “I love it! And I think I love it because a weird flavour. But it is independent – and I don’t
just going to take the baton and run with it’,” Dean Turner from Magic Dirt was [Violent Soho’s] say that to be rude, I’m saying it as in, like, we’re an
Boerdam says. “Literally, in those early 2000s, we first manager – our first director in a way, I guess. anti-industry band through and through, and this
had to pick indie-pop bands to support – full-on DJ We have this black-and-white photo from ’07, ’08 is how proudly we talk about being involved with
bands – because if you wanted to get on a national or something like that, and we’re all sitting around Johann and I OH YOU.”
tour, they were the bands that had the funding. intently, looking in on him; it reminds me of how By this point in the story, we’re at the tail end
Whereas now, it’s like, ‘Pick as many heavy bands much we listened to him back then, and how our of 2018. Tidswell is kicking goals on the daily with
as you can take on the road with you!’” band really were a sponge to the advice he was Domestic La La, Henery and drummer Michael
Then there was the all-important issue of public giving us – how to behave and how to act, and the Richards have settled nicely back into their
image. Rock ’n’ roll had been doled the mainstream correct way of going about things. day-to-day lives, and Boerdam… Well, Boerdam is
resurgence it so utterly deserved, and though “It was so important that we were getting that going through some shit. He found himself moving
they were obviously stoked with that, Soho were advice from someone from the ‘90s, when integrity back into his parents’ house, which came as an
cautious not to be sucked into the allure. was vital to the way you did things. For example, especially harsh blow given that he’s not only a
“This thing happened where all of a sudden, we had some friends getting sponsorships for boomerang baby, but a twice-thrown one, having
everyone was a rock band,” Tidswell recalls, “And it all these different brands, and Dean went, ‘Well, wound up in the same plight when Soho were
was sort of a ‘thing’. We just wanted to make sure would you want to be sponsored by?’ And we were dropped by their first label (a major, aiding in the
that we were being us, I guess, and never buying like, ‘PlayStation, man! We want PS3s!’ So he goes, band’s staunch views on independence) in 2010.
into whatever that ‘thing’ is. Because it’s all fleeting ‘Then sell more records so you can buy a PS3. Don’t Without the constant chaos of touring to keep
moments in music – different things come into sell your band for a $500 video game console!’ I distracted, Boerdam settled for the next best thing:
trend and others phase out, and we’ve always been love that I was lucky enough to get to soak up all writing. It’s in his childhood bedroom that the fifth
the same band regardless of that. So the fact that that information. And to this day, we still live by Violent Soho album would start to materialise; the
we got to experience that trend first-hand and be everything that he taught us. I sort of feel like Obi tongue-in-cheek title of Everything Is A-OK was a
the first cab off the ranks, so to speak… It would’ve Wan Kenobi – I got the message from the source, ways off, but the first song for it – the sarcastic and
been dangerous to buy into that mentality, and it and I’ve got to pass it on to my Padawans if the angsty and snappily acerbic “Vacation Forever” –
would have only ruined out band. So we decided to Jedi is going to exist.” came about surprsingly fast. It set the tone for what
just sit back and see what happened.” Incidentally, that exact strain of integrity is the A-OK would grow to be: sharp, loud, and distinctly
Lo and behold, Australian rock music is still reason Violent Soho’s new album doesn’t feature personal – that last one an admittedly unusual trait
enjoying a ripping spell of triumph – hell, when this the Domestic La La tag. WACO was the second of for a Soho record.
article went to print, the last three bands to drop their two records under contract to I OH YOU – the “The first one was pretty personal – y’know,
albums at #1 on the ARIA Charts were Tame Impala, Mushroom imprint to whom they’d initially signed in songs like ‘Jesus Stole My Girlfriend’ were straight
Green Day and Dune Rats (the lattermost of whom 2012 – and at one point, Tidswell did intend to lead out of my diary,” Boerdam says, “But then over the
actually opened for Soho on the WACO tour). In the Soho ship under his own direction; that’s part of next two, everything changed. I was like, ‘I want to
fact, shortly after Soho called it on the WACO days, why Domestic La La was established when it was. write about all this other stuff that’s got nothing to
“I had it set up so that we could transition do with me!’ It’s all still about being frustrated with
straight from I OH YOU over to the new label,” he the world, but it’s not directly personal – whereas
says, “but in all honesty, it was like we stepped this time it did swing back around, and I was putting
back and went, ‘Y’know what? Nah.’ I OH YOU is way more of my own feelings into the lyrics and
an incredible label, Johann [Ponniah] is an unreal writing more naturally, straight from the heart.”
dude, and we love the whole team over there. This is the part where we’re supposed to tell you
We were introduced to Mushroom through Dean, how the rest of Everything Is A-OK came together
and his wife Linda still works there! That was our in a bright, summery ‘80s movie montage with lots
family. So it was about doing the right thing, and of belly laughs, clinking pint glasses and romantic
paying respect to those that gave us a chance back walks along the beach (with the obligatory spotting
when we needed one. Because in this day and of a pug in the distance). But alas, that’s just not how
age – especially with the generation of kids coming it works. Boerdam certainly wasn’t going to catch a
up now – we’re so quick to be like, ‘Get yours! I’m break – viable song ideas were few and far between
getting the next best thing for me!’ But I OH YOU as he braved the storms of his personal life, and the
are a great label, and they’ve been so good to us rest of the band weren’t exactly champing at the bit

| australianguitarmag.com.au
 | 39

I SORT OF FEEL LIKE

OBI WAN KENOBI – I GOT
THE MESSAGE FROM THE
SOURCE, AND I’VE GOT
TO PASS IT ON TO MY
PADAWANS IF THE JEDI
IS GOING TO EXIST.
40 | COVER STORY

to kick the ol’ machine back up again. Orange OR that they had lying around in the studio.
“We were just dragging ourselves to band I’m usually more of a Marshall guy, so that was a
practice,” Boerdam admits. “Even with the new bit like, ‘Oh God, this is all different for me!’
songs, we were like, ‘Ugh, let’s get this over with.’ “[Greg] had to line up eight capsules and eight
But then we started joking around about making mics to the phasers – that’s really, really, really hard
this new record, and I don’t know, that kind of to do, I found out. And then Greg was really happy
kicked it off. We were like, ‘Oh, we should call it but I wasn’t – I was like, ‘It’s still not tough enough’ –
Johann’s mobile phone number’ – the working title so the other guys had to drive over an hour and a
was literally +61 4, etcetera – and we recorded it half away to get a Soul Food pedal from this music
in a house with Greg Wales for four weeks, and we store in Sydney city. James was like like, ‘Boerdam
just had all these cool little ideas, and everybody better f***ing need this pedal!!!’ So we put that in of WACO’, ‘We already did that on Hungry Ghost’…
got excited about it again. We were excited about on 20 percent and suddenly it was like, ‘Oh my God, And then finding the songs where you can go,
taking ownership again, and breaking the cycles this is the best sound I’ve ever heard in my life!’” ‘Okay, this one we could work with!’
we’d gotten ourselves into.” As far as the guitars themselves go, Tidswell Boerdam looks at A-OK as his most sophisticated
Once they found themselves in a decent rhythm brandished a strikingly simple rig: “It was just a effort. “I think the thing I like most about this record
(pun intended), the focus quickly shifted to a late Jazzmaster plugged straight into the amp with a is that it’s more mature,” he reflects. “All the other
2019 comeback. The band met often to piece smidge of Soul Food.” records felt like we were just trying to punch holes
ideas together, and though they ultimately chose Being the gear nerd he is at heart, Boerdam’s in the wall, whereas this one’s more like, ‘Nah, let’s
not to record the album live, its inception very kit was a little more fleshed-out. “I used a 2017 have a discussion.’ I don’t think Soho will ever get
much revolved around the four of them being in a [American Professional] Tele Deluxe,” he says, rid of the heavier riffs because… Well, we love them.
room and playing through the songs as one taut, “But I put in these pickups from a guy in Adelaide But in the themes and the way we get the message
well-oiled unit. “We spent heaps of nights and named Brierley – he hand-winds these P-90s and across, there’s something more laidback – I think we
weekends jamming for this record – more than we all these cool vintage pickups, so I ripped out the were just more calm and confident.”
ever have for any other record,” Boerdam says. humbuckers and put in this one P-90, and took out Tidswell is quick to agree. “All the other records
“And I think you can hear that.” all the tone knobs so there’s just a volume knob. that we’ve done, I can hear the anxiety,” he says.
The past two Soho records came to life at the “I actually want to buy an old ‘70s one. I’ve been “And on this one, there’s none. We’re not anxious.
The Shed in Brisbane, with longtime collaborator playing these old custom ‘70s Teles – like, proper We’re not aggressive. We’re just, like, sitting back
Bryce Moorhead behind the console. But since The ones – that Greg has in the studio. I picked mine up and being. It’s almost like what you try to do when
Shed was axed in 2017, the band decided to step and I was like, ‘That’s good,’ but then I picked up a you’re meditating y’know? You have to be in the
outside their comfort zone, enlisting iconic producer ‘70s Custom and I was like, ‘Phwoah!’ It’s like triple right headspace and let it happen – and when I
Greg Wales – whose work you might’ve heard on the weight, but it’s such a great guitar But I am listen back on these songs, I’m like, ‘F***, we did
a Bloc Party, You Am I or Wolfmother record – to very happy with what I’ve got now – I only take two it!’ I’m so proud of that.”
produce A-OK at The Grove Studios in Sydney. guitars with me on the road and they’re the exact There’s no shyness when it comes to branding
The new setup came with changes to the way same… James, we need to get you a red ‘70s Tele.” Everything Is A-OK the band’s magnum opus. For
Soho worked at their core. In a press release, “Hmmm… I’ll compromise: a red Strat. And then reference, we’re sitting in the beer garden at the
Boerdam declared, “We spent an entire day getting put the Jazzmaster pickup on the neck, at least. You Lansdowne Hotel in Sydney, where in three hours,
the guitar sounds right, so it’s probably the first cannot replicate a Jazzmaster’s neck pickup sound – Soho will play a set for 200 fans that lined up
time I’ve ever been completely happy with the it’s so clean! And once your ear listens to that and outside a record store at 4:15am to buy tickets for;
guitar sounds.” For a band who’ve always lived and not even the distortion, if you lose that pickup, when we dive deep into the record, the axe-wielding
died by their guitar tones, we have to wonder: why it’s just like, ‘Well, where’s the guitar? Where’s the duo rave about their favourite tracks as if they’re
did it take so long to get them articulated? tone?’ So a Strat with a Jazzmaster pickup in the the punters that have started lining up downstairs.
“Because for some reason,” Boerdam sighs, neck… And maybe a Seymour Duncan humbucker “Slow Down Sonic” is one we all mutually agree
“Greg went, ‘I’m not going to let you use any guitar in the back. I don’t know, though, that might be a rules – it’s a mid-tempo jam that canters along
pedals.’ I was like, ‘Ah, go f*** yourself dude’ – little too much. But I want some crunch.” with a battered sizzle. “Pity Jar” is classic, grungy
because I love guitar pedals! They’re my favourite So now we’re nearing the end of 2019. The first mosh food with some of the best percussion in
thing in the world! But then I was like, ‘Nah, alright, shows back have been announced (coincidentally Soho’s catalogue. “Canada” will undoubtedly reign
you’re producing, I’ll follow your lead.’ He wanted for another festival, Good Things), and Violent Soho as a festival favourite. Tidswell and Boerdam have
to use all amps – and that makes sense, because officially have their fifth studio album, Everything Is a near infinite amount of reasons to be proud of
y’know, tubes give you the best top saturation, A-OK, wrapped up and ready to stamp onto wax. It’s A-OK. Whether it really is their best album is up for
period. And it took eight hours because Greg has a homely record for the band – they did everything time to decide, but it’s objectively the one they put
this crazy mic technique; I personally tried to on their own terms, worked at their own pace, and the most effort into, and that deserves praise.
replicate it when I was doing some stuff with Tired didn’t even consider the prospect of hiring A&R. “We cared so much about each song,” Tidswell
Lion and it’s just impossible. Such is reflected in the LP’s deliberately vanilla says, “And we just did the absolute best that we
“So we had two amps: one was an old metal artwork: it’s a photo, taken by Henery, of a house could with it. And there’s so many little things that
amp, a Framus Cobra – it’s like 100 watts and it has each member has walked past at least 1,000 times are completely new for us – the time signature
heaps of headroom – and we blended that with an each. It’s in walking distance from where Tidswell changes on ‘Easy’ at one point, for example, and
grew up and where he lives currently. It belongs to that’s nothing we’ve even remotely attempted
Ken, aged 83, who feeds his birds every day at 3pm before. But we thought it sounded good, so we did
on the dot and was ecstatic when the band asked if it. Y’know, we’ve always focussed on making the
they could immortalise his abode in a jewel case. songs sound as poppy as possible – we want them
But nothing is a greater testament to the record’s to be catchy as f*** – but with this record, we just
informality than the actual material on it. The band wanted to just sound our best. We’d like to think
had no grand plans to make any particular record that it’s going to take four or five listens before
when they started writing it. There was never any you realise how good it actually is. With the other
discussion of a Violent Soho metal record, or debate ones, we served it up like, ‘If you don’t get it on the
over whether they should roll in a keyboard or two. first listen, you don’t get it at all.’ But there’s a bit
All of the stylistic growth that Boerdam displays more going on here.”
in his songwriting – and the band en masse in At the end of the day – for you reading along
their performances – came not through calculated at home, at least – there’s only one question that
reinvention, but natural artistic maturity. As really matters: is A-OK a good album? Well, that’s
Boerdam explains, “Those kind of things happen completely subjective, and we recommend you
naturally through writing a bunch of shit songs and give it a spin for yourself to decide. How would we
going, ‘That doesn’t feel right’, ‘That’s derivative answer it, though? Simple: “Hell f*** yeah!”

| australianguitarmag.com.au
See us at the
HiFi 2020 Show
next to Reception

APP CONTROL
MOSAYC
 Huge range of 8 types USB
amp models of effects interface for 50 watts
recording of power

Nutube
technology
for real valve
response

Open-back
wooden
cabinet

Celestion
12" Speaker

Powered by Nutube and Celestion for powerful and responsive tones

NOW AVAILABLE IN AUSTRALIA

MORE INFO WATCH US ON YOUTUBE LIKE US ON FACEBOOK

voxamps.com youtube.com/voxaustralia facebook.com/voxampsaustralia
 | 43

THE GREAT

A
nother year deep, another NAMM down! The world’s biggest
annual celebration of all things music – which has been kicking
strong since 1901, believe it or not – the 2020 edition of the
trade show went down a treat back in January, with tens of thousands
of gear nerds hustling and bustling around the Anaheim Convention
Centre’s shiny floors, all in search of the latest and greatest musical
innovations. Here are just some of the biggest reveals we caught as
fretboard fiends on the cusp of an exciting new decade…
44 | FEATURE

THE MILLION-DOLLAR

FENDER CORONATION STRAT LEADS

A JAW-DROPPING CUSTOM
SHOP LINEUP
Fender have announced a plethora
of new Custom Shop electric guitars,
including additions to the Custom
Artist Collection for Jimmy Page and
Eric Johnson. Also ringing in the new
decade is the introduction of the
Annual and Prestige collections.
While the Annual Collection has
THE ICONIC HM STRAT IS BACK! been conceived to showcase the latest
Famously wielded by virtuoso guitarist Greg Howe on his 1992 REH Hot innovations and developments at the Custom Shop, each guitar in the Prestige
Rock Licks instructional video, the short-lived ‘88-‘92 run of heavy metal- Collection is by a single Fender Master Builder with no limit whatsoever on budget.
friendly Strats were very much tailored to an era of super shredders. Headlining the pack is the Coronation Stratocaster, inspired by the Coronation
Famous for their extreme playability and bold color schemes, the line has Egg made in 1897 to commemorate the inauguration of Tsar Nicholas II and
finally been revived. The new models offer a basswood body, Gotoh tuners, a Tsarina Alexandra on the Russian Imperial throne.
HSS pickup configuration with a coil split switch for the bridge pickup, a Floyd The guitar looks as royal as the name would suggest, donning a gold leafed
Rose locking tremolo and 24 jumbo frets. surface with an on-wood Guilloche and gilded silver artwork. It’s adorned with
Of course, these latest versions wouldn’t be the same without a black custom fabricated diamond eagle medallions, along with hundreds of diamonds
headcap and that infamous ‘80s stylised Fender logo on the headstock. throughout the instrument.
WORDS: AMIT SHARMA For anyone lucky enough to afford this beauty (it’ll run you over $1,000,000 in
Australian currency), the souped-up Strat even comes with a vintage recreation
of the Coronation Egg itself.
WORDS: SAM ROCHE

GEORGE HARRISON’S ‘ROCKY’ STRAT GETS A TRIPPED-OUT

REPLICA
Fender has announced a faithful recreation of George Harrison’s ‘Rocky’
Stratocaster, as made famous by its appearance in The Beatles’ 1967 Magical
Mystery Tour film.
Harrison’s guitar was originally a Sonic Blue Strat, purchased in 1965 and still
THE LEAD II AND III HAVE BEEN REVIVED bearing the decal from the music store it came from: ‘Grimwoods; The music
St. Vincent, Bono, Eric Clapton and Steve Morse are just a handful of the people; Maidstone and Whitstable’.
guitarists associated with the Fender Lead series, its history stretching all the In 1967, Harrison gave the guitar its dayglo paint job, and by December ‘69,
way back to 1979. The unique double-cutaways will be making their return he had painted ‘Bebopalula’ on the body, ‘Go Cat Go’ on the pickguard’ and
this year in the form of Player Lead II and Player Lead III reissues. ‘Rocky’ on the headstock.
The Lead II offers dual-slanted Player series single-coil pickups, a modern In creating this new model, Fender Custom Shop Master Builder Paul
C-shape neck, medium jumbo frets, and dual-toggle switches for pickup Waller examined and measured the original guitar – which boasted a rare
selection and phase-reverse. The Lead III features two Player humbucking asymmetrical C-profile neck – and its pickups to create a meticulous replica,
pickups, and dual-toggle switches for pickup selection and coil-splits. right down to the ‘Grimwoods’ decal.
WORDS: AMIT SHARMA WORDS: MICHAEL ASTLEY-BROWN

THE ‘70S LIVE WITH THE

NEW TREADLITE WAH AND
EXPRESSION PEDALS
Fender has added to its
ever-growing family of
pedals with perhaps its two
most fascinating effects
units in recent years: the
THE ACOUSTASONIC GETS A STRAT VERSION Treadlite Wah and Treadlite
Following the success of last year’s bombshell Acoustasonic Telecaster, Volume/Expression.
Fender have doubled down, revealing a Stratocaster variant featuring The Wah is certainly
all-new tonewoods, voicing options and electric capabilities. eye-catching, to say the least. The wooden pad on its lightweight, durable
With a fully hollow body and Fender’s patented Stringed Instrument anodised aluminium body screams “‘70s” in a way that few wahs ever have. It’s
Resonance System (SIRS), the Acoustasonic Stratocaster features by no means an old design though, with adjustable treble and a three-way top
everything that made the Tele so successful, but with a Strat-shaped mounted, mid-frequency toggle to really dial in the frequencies you’re going for. 
body that will inevitably result in a different tonal projection and feel. The original-Fender analog circuit also boasts a switchable external buffer and
The guitar also features the Fender and Fishman-designed Acoustic a red status LED to indicate when the pedal is active and ready for use. 
Engine, delivering a newly curated collection of acoustic and electric Ideal for those who use volume pedals to sweep in chords à la Allan
voices. The Fender Acoustasonic Noiseless Magnetic pickup can be Holdsworth and those who want more control over their levels, the Treadlite
played solo for hum-free Fender electric tone, or blended with an Volume/Expression carries a similar vintage flavour, with a stage-ready chassis
acoustic voice to create new tones. and rubberised pad built to last. 
WORDS: SAM ROCHE WORDS: AMIT SHARMA AND JACKSON MAXWELL

| australianguitarmag.com.au
 | 45

GIBSON

TOMMY IOMMI’S “MONKEY” GETS A CUSTOM SHOP CLONE

Those who take their Sabbath like their coffee will be tolling the bell of doom
in celebration with the news that Gibson has launched an Artist Series replica
of Tony Iommi’s iconic 1964 SG Special. Nicknamed “Monkey”, and featuring
a sticker depicting the eponymous primate just below the bridge, the new SG
Special is the Holy Grail of electric guitars in Black Sabbath history.
Besides its mahogany body and set neck, the Monkey features a pair of
handmade pickups, which were wound by an apprentice of the late guru John
Birch. It has been aged with a zero fret as per Iommi’s original, and sports the
same stop tailpiece bushings and routing holes where the original tune-o-matic
bridge and tailpiece would have been removed. 
The Gibson Custom Shop has created 50 of these guitars, with 25 right-
handed and 25 left (like the original). Each comes signed and numbered
by Iommi, and inside the custom 1960s coffin case, you’ll find an exclusive replica
of Iommi’s silver cross necklace and leather touring guitar strap.
WORDS: JONATHAN HORSLEY

THE FLYING V, EXPLORER AND LP SPECIAL TRIBUTE

COP A REDUX
Gibson is expanding its Original Collection with new ‘70s-style Flying V and EPIPHONE’S “INSPIRED BY GIBSON” COLLECTION DROPS JAWS
Explorer electric guitars. The Flying V will feature a bound rosewood fingerboard Epiphone has announced that its 2020 electric guitar lineup will be split
on a slim taper neck, with a pair of hand-wired ‘70s tribute burstbucker pickups. into two ranges: ‘Epiphone Originals’ and ‘Epiphone Inspired by Gibson’.
The guitar will be available in a classic white finish with a matching headstock, with The latter range’s guitars will feature the more Gibson-like Kalamazoo
silver reflector knobs and chrome hardware. headstock, as well as upgraded electronics and finishes.
The Explorer will also feature a pair of handwired ‘70s tribute burstbuckers, a These models include the Les Paul Junior, Les Paul Special, SG Special,
classic white finish, a bound rosewood fingerboard and chrome hardware – but Les Paul Standard ‘50s, Les Paul Standard ‘60s, SG Standard, ‘61 SG
with black speed knobs. Standard w/Maestro, Designer Collection Explorer, Firebird and Flying V –
Gibson also looks to further expand its Modern Collection with a new Les as well as a Les Paul Studio and Les Paul Modern.
Paul Special Tribute model. Players will be able to choose between two pickup The Epiphone Original Collection, meanwhile, sees the relaunch of Made
configurations (humbucker or P-90), with the guitar representing the more in USA models, beginning with the Texan acoustic – which features solid
affordable side of Gibson’s lineup. woods, X-bracing and a 25.5-inch scale length.
WORDS: SAM ROCHE WORDS: MICHAEL ASTLEY-BROWN
46 | FEATURE

VOX IBANEZ
THE CAMBRIDGE50 MODELLING NITA STRAUSS’ SIGNATURE JIVA10
AMP IS A NUTUBE-EQUIPPED GETS A YOUNGER SIBLING
LIFESAVER 2020 marks the release of Strauss’ second
Equipped with Vox’s Nutube and Virtual signature model, the JIVAJR: a more affordable
Element Technology, the Cambridge50 alternative to the JIVA10. The new model will
promises to capture tube-amp response come with a quilted maple top with three-ply
for stage-ready sounds. 11 amp models binding on a meranti body, bolted to a Wizard III
and eight built-in effects are rearing to maple neck with a 24-fret ebony fingerboard that
go, as is a tuner, while a Celestion 12-inch features her own ‘Beaten Path’ EKG-style inlays
speaker delivers the tones. and luminescent side dot markers. Elsewhere on
Other functions include an aux input, the guitar, there’s an Edge Zero II double locking
USB audio interface and headphone/ tremolo bridge, Ibanez tuning machines and
line output with cab sim, plus a line mode for acoustic-electric guitars and Ibanez Quantum pickups (HSH).
keyboards, and a preset mode to recall existing tones. WORDS: AMIT SHARMA
WORDS: MICHAEL ASTLEY-BROWN

THE VALVENERGY PEDAL SERIES STARS FOUR NUTUBE-

EQUIPPED GEMS
After years of cramming its Nutube tech into tiny amp heads and even
an Ibanez Tube Screamer, Vox has finally brought the miniature
valves into its own line of overdrive pedals. The lineup is
composed of four models: the Mystic Edge (based on the AC30),
Copperhead Drive (a classic rock stack sound), Silk Drive (the
tone of a legendary boutique amp) and Cutting Edge (voiced
for modern metal).
All four offer amp-style drive with a Nutube twist,
promising tube tone and response via a nine-volt power
supply internally boosted to 15 volts. Each stompbox
offers buffered bypass, and the ability to switch multiple
pedals on and off at once via a clever eighth-inch cable
connection mode.

WORDS: MICHAEL ASTLEY-BROWN

AND STEVE VAI HAS A
TWO NEW BOBCAT MODELS REVISIT THE STUNNING NEW (NON-JEM)
BRITISH INVASION ERA SIGNATURE MODEL
Vox has announced the launch of two British An ornate, avant-garde S-style guitar
Invasion-style semi-hollow electric guitars: the that looks very much like a more
Bobcat V90 and the Bobcat S66. evolved JEM, the Paradise In Art (PIA)
The V90 is equipped with two has a solid alder body and a five-piece
soapbar pickups, while the S66 maple and walnut neck, with a
sports three single coils. The rosewood fretboard emblazoned with
guitars feature a set neck design, a multi-coloured blossom inlay.
which Vox promise will improve The PIA also features an all-new
playability at the higher frets. DiMarzio HSH pickup set that’s yet to
Featuring a maple plywood be named, 24 jumbo stainless steel
construction, the body has a frets with Prestige edge treatment,
weight-relieved spruce center gold hardware, and a Floyd Rose
block for added sustain Edge tremolo.
and feedback resistance. But the big news is the Petal Grip,
Hardware is designed which replaces the time-honoured
for simplicity, with a Monkey Grip and looks kind of like a
fixed tune-o-matic TMNT domino mask – but of course
bridge and reprises the foliage theme. “The
lightweight petals signify the bond that two
open-gear people have when they resonate
Grover tuners. together,” Vai says.
WORDS: SAM ROCHE
WORDS: JONATHAN HORSLEY

| australianguitarmag.com.au
 | 47

ERNIE BALL OTHER HIGHLIGHTS

ORANGE’S TERROR
STAMP MIGHT
BE THE WORLDS
MOST PORTABLE
20-WATTER
Orange has launched
the Terror Stamp: an
ultra portable 20-watt
electric guitar amp
with the size (and
functionality) of a pedal.
Featuring an ultra
compact form factor, this
little powerhouse will fit
easily onto any pedalboard, delivering what Orange calls “masses of Terror
tone at the stamp of your foot.” Features include an 8/16-Ohm speaker
output, a fully-buffered FX Loop, a cab sim/headphone output, shape
control and a foot-switchable master volume.
The amp also features a hybrid ECC83 tube / Class AB solid state design,
offering users the best of both worlds. Orange even says the amp can be
GET YOUR FINGERS AROUND EIGHT NEW STRING TYPES used to power a four-by-12 cab. And with stunningly robust casing, we
Coming later this year will be Ernie Ball’s new Turbo, Mondo, Skinny Top Beefy expect these will be very popular with gigging guitarists.
Bottom and Mighty Slinky sets, offering users custom string gauges that have WORDS: SAM ROCHE
never been available through the brand before. 
All of the new sets will feature a nickel-plated steel wrap wire around a FISHMAN GO TO
tin-plated hex core for that iconic Slinky feel and tone. The Turbo Slinkys fit neatly INFINITY AND
between Regular Slinkys and Hybrid Slinkys – great for those transitioning from 9s BEYOND WITH
to 10s or back down. The Mondo Slinkys will be welcome news for those who tune NEW POWERTAP
lower, or want to get as much out of their instrument without going as heavy as 11s. PICKUPS
Those looking to explore the more extreme, thicker gauges will be interested With its new PowerTap
in the new Magnum Slinkys – well suited to players who want optimal tension at Earth and PowerTap
lower tunings and with a wound 22-gauge G-string. Then there’s the Skinny Top Infinity pickup systems,
Beefy Bottom Slinkys for a happy medium between riffing and bending. Fishman is aiming to help
Finally, aimed at those who prefer the lighter gauges, the new Mighty Slinkys sit acoustic guitarists take
between the popular Super Slinky and Extra Slinky strings, providing a fast, light their sound to infinity
tension across all six strings. The Hyper Slinkys offer a lighter gauge variant on the and beyond. The pickups
Skinny Top Beefy Bottom format.  feature a Tap body sensor that, when combined with a Matrix Infinity or Rare
WORDS: AMIT SHARMA Earth pickup, adds layers of texture and depth to an acoustic guitarist’s sound.
Both systems feature an adjustable Blend control that can mix the sound
JOHN PETRUCCI’S SIGNATURE of the Rare Earth or Infinity and Tap signals in mono. Players can choose to
SERIES GETS AN UPDATE run the individual pickup and Tap signals into separate channels with the
The John Petrucci signature use of a stereo cable, allowing users to add separate effects, level control
series also sees a bit of an overhaul, and EQ to each pickup independently.
with three new models for 2020: The PowerTap Infinity features an enclosed, soundhole-mounted
the revamped Majesty, JP15 and JP Volume and Tone control module, plus a voicing switch. The PowerTap
Maple Top. The latest incarnation Earth, meanwhile, features active electronics, miniature batteries and a
of the Majesty features a flamed neodymium magnet structure for increased string clarity. 
maple shield seated in a lightweight WORDS: JACKSON MAXWELL
okoume body, Trooch’s signature
Dreamcatcher and Rainmaker
pickups, and an onboard piezo
bridge system.
There will also be a limited run of
six- and seven-string Purple Nebula
Majesty guitars, with a three-piece
neck constructed from two strips of
Honduran mahogany and a center IK MULTIMEDIA’S AXE/IO SOLO AUDIO INTERFACE IS A
strip of flamed maple on a body with GODSEND FOR GUITARISTS
alder sides, a neck-through mahogany The AXE I/O SOLO is a more compact version of IK’s premium guitar
and maple center and a carved, highly interface. The unit was developed with guitarists looking to record on a
figured quilt maple top. budget or on-the-go in mind, featuring two inputs and three outputs in a
The 2020 JP15 is powered by twin custom DiMarzio Illuminator pickups, with a portable and convenient form factor. 
lightweight okoume body and figured maple top, a figured roasted maple neck and Features include IK’s high-end PURE microphone preamp, an instrument input
fingerboard, a piezo bridge system and onboard 20-decibel gain boost. with proprietary tone-shaping options; an exclusive Amp Out to incorporate real
The JP Maple Top boasts an alder body with a mahogany tone block and gear into a recording setup; and 24-bit, 192-kilohertz converters with a wide
figured maple top, and a Honduran mahogany neck with an East Indian rosewood dynamic range for pristine recordings in all musical genres.
fingerboard. The pickups included with this model are the DiMarzio Liquifire The unit also has the ability to act as a controller for IK’s AmpliTube 4
and Crunch Lab, with more options courtesy of the piezo bridge system and software – the guitar and bass tone studio for Mac, PC, iPhone and iPad that
a coil-splitting tone pot. There will also be a Koa Top option which includes a comes included if purchased. Also included is a suite of T-RackS mixing and
mahogany body and neck with an ebony fretboard. mastering plugins, and Ableton Live 10 Lite recording software.
WORDS: AMIT SHARMA WORDS: SAM ROCHE
48 | FEATURE

MOOER UNVEILS TWO FEATURE-PACKED MINI PEDALS

Mooer Audio announced two new additions to its recently revamped Micro
Series. Both the the A7 Ambiance reverb pedal and the D7 Delay come packed
with tone-shaping features housed in a compact form factor.
The A7 Ambiance features seven reverb effects with the ability to shape
the reverb tails with the Infinite Trail function or the more traditional Trail
On function. The pedal also features an array of controls allowing endless
customisation, and the ability to save settings as presets.
The D7 Delay houses six customisable digital delay effects, with LED lights
on the side of the unit indicating the current setting. The pedal will also include
a Trail On function, allowing the current delay to fade out naturally; and Tap
Tempo functionality, which allows the user to easily set the desired delay timing.
WORDS: SAM ROCHE

VICTORY COMBINES
PORTABILITY AND
POWER WITH V4 THE SUNN O))) DIRT BOX COMES BACK TO LIFE IN
THE DUCHESS EARTHQUAKER’S LIFE PEDAL V2
Victory has unveiled V4 It was the must-have distortion pedal of 2019, and we see no reason why this
The Duchess: a portable new version of the Life pedal won’t be this year either. Is it a distortion, octave
and compact amp in fuzz, or boost? It’s all three, and maybe a little more!
a pedal format. The Developed in collaboration with Sunn O))) guitarists Stephen O’Malley and
company hopes to enable Greg Anderson, the Life Pedal is designed to hit a tube amplifier hard and send
guitar players to achieve your tone spinning through a wormhole of cascading drive and harmonics.  
the classic Duchess tone While the pedal has an all-new enclosure, the gameplan is unchanged. The
at a more affordable price Life Pedal features an octave fuzz that was inspired by the classic Shin-Ei FY2
and in a more compact and FY6 units.
and lightweight design. That circuit leads into an LM308-chipped RAT-style distortion, and features a
V4 The Duchess three-way clipping switch (op Amp, Asymmetric and Symmetric) to sculpt that
features an all-valve preamp and a 180-watt Class D power section. The amp gain. The second stage operates as a clean MOSFET boost to get your tube amp
weighs just 1.7 kilograms, so will appeal to guitarists seeking portability while all hot and bothered. 
maintaining the tone of a much larger head. WORDS: JONATHAN HORSLEY
The amp also features an effect loop, an onboard digital reverb and a tremolo
for ambience. Victory has intentionally opted to exclude speaker emulation and
IRs from the unit, however. KORG’S SUPER
WORDS: SAM ROCHE EASY-TO-BUILD
PEDAL KIT
FAITH HAVE UNVEILED REQUIRES NO
THEIR FIRST EVER BARITONE SOLDERING
ACOUSTIC In addition to
Faith Guitars has been on a roll Vox’s Valvenergy
as of late, and now the company has pedals, parent brand
announced another new model: the Korg has also utilised
HiGloss Neptune Baritone. The new Nutube technology
acoustic guitar – Faith’s first baritone for the Nu:Tekt OD-S
design – sports the company’s Overdrive kit, which
baby-jumbo body Neptune shape requires no soldering
and a 26.77-inch scale length. to build. Such should
Features include a solid Engelmann make for an easy
spruce top and solid figured rosewood build with no risk of
back and sides with an all-over anything going wrong – provided you follow the instructions to a T, of course.
high-gloss finish. There’s also an ebony Once assembled, the pedal features two gain knobs, one of which
fingerboard, bridge, headplate and adjusts the input volume and the other the gain of the Nutube, offering
heelcap and flamed maple binding. amp-style flexibility. There’s also a switch to choose between two overdrive
Electronics include a Fishman INK3 types (low/high) and true bypass switching. Most intriguingly, Korg notes
preamp system with a chromatic tuner, that the circuitboard features a mod-friendly layout, allowing you to create
three-band EQ and volume control, and an under-saddle Sonicore piezo pickup. your own design.
WORDS: RICHARD BIENSTOCK WORDS: MICHAEL ASTLEY-BROWN

| australianguitarmag.com.au
 | 49
JIMMY VAUGHAN

THE ALLMAN BETTS BAND

Photo: Austin Hargrave

DWEEZIL ZAPPA MORGANE JI

GEORGE BENSON

LARKIN POE
Photo: Tom Russel

MARCUS KING
 FRANK TURNER • CORY HENRY & THE FUNK APOSTLES
ASH GRUNWALD • THE ALLMAN BETTS BAND • WALTER TROUT
E
EXCLUSIV
HERE COME THE MUMMIES
THE WAR & TREATY • AMADOU & MARIAM
E
EXCLUSIV
DAMI IM • MORGANE JI • EMILY WURRAMARA
ERJA LYYTINEN • TAL WILKENFELD
E
GREENSKY BLUEGRASS • JOACHIM CooDER EXCLUSIV

E
EXCLUSIV
STEVE 'N' SEAGULLS • DIRTY HONEY
E
ROSHANI • MY BABY EXCLUSIV

HUSSY HICKS • LAMBROS.

THE REGIME

FOR FULL DETAILS OF ARTISTS ANNOUNCED

GO TO BLUESFEST.COM.AU
 LENNY KRAVITZ

MICKI FREE

HARTS
Photo: Nadine Koupaei

JOHN BUTLER TRIO

Photo: Josh Groom

ERJA LYYTINEN
54 | TABLATURE

,1&/8'(',1
7RS5RFN+LWV
'HOX[H*XLWDU3OD\$ORQJ
+DO/HRQDUG
&XVWRPLVH\RXUH[SHULHQFH
Kryptonite
ZLWKWKHLQWHUDFWLYHRQOLQH Words and Music by Matt Roberts, Brad Arnold and Todd Harrell
DXGLRDQG7$%
Intro
Moderately slow Rock q = 99
Bm G Asus2
EE  M 5 5 5 5 5
G  M 5 5 5 5 5 5 5
5 5 5 5
mf
w/ clean tone
let ring throughout

M 4
3
4 0 0 2
0
M 4 4 0 2
£ 2
3
2 0

1. 2.
Bm G Asus2 G A7sus2
EE 5 5 5 5 5 5 M 5 5
G
5 5 5 5 5 5 5 5 M 5 5 5 5
5 5 5 5
0
4
3
4 0 0 2
0 M 0
0
0
2
4 4
2
0
0
2 M 2
0
0
3 3

Verse
Bm G Asus2
EE 3 5 5 5 5 5 5 5 5 5 5 5 5
G 5 5 5 5 5 5
5
1. Well, I took a walk a - round the world to ease my trou - bled mind.

EE 5 5 5 5 5
G 5 5 5 5 5 5 5
5 5 5 5
3 0
4 4 0 0 2
4 4 0 2
2 2 0
3

Bm G Asus2
EE 5 5 5 5 5 5 5 5M 5 5 5
G = 5 5 5 5 5 5
I left my bod - y ly - ing some - where in the sands of time.

E 5 5
GE 5 5 5 5 5 5 5 5 5 5
5 5 5 5
3 0
4 4 0 0 2
4 4 0 2
2 2 0
3

Copyright © 2000 SONGS OF UNIVERSAL, INC. and ESCATAWPA SONGS

All Rights Controlled and Administered by SONGS OF UNIVERSAL, INC.
All Rights Reserved Used by Permission

| australianguitarmag.com.au
 | 55

Bm G Asus2
EE 3 5 5 5
G 5 5 5 5 5 5 5 5 5 5 5 5 5 4
But I watched the world float to the dark side of the moon.

EE 5 5 5 5 5
G 5 5 5 5 5 5
5 5 5 5 5
3 0
4 4 0 0 2
4 4 0 2
2 2 0
3

Bm G A7sus2
EE $
G = 5 5 5 5 5 5 5 5 5 B 4 =M 5
I feel there’s noth - ing I can do. Yeah.

EE 5 5 5 5 5 5
G 5 5 5 5 5 5
5 5 5 5
0
3 0
4 4 0 0 0
4 4 0
2 2 0
3

Interlude
Bm G A
EE 4 ? 0
G 5
^

  
EE = 555 555 555 555 555 = 555 555 555 555 555 55 55 55 55 55 
G 5 5 5 5 5 5 5 5 5 5 = 55 55 55 55 55 = 55 55 55 55 55
5 5 5 5 5 5 5 5 5 5 55 55 55 55 55 55 55 55 55 55

2 2 2 2 2 2 2 2 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 2 2 2 2
4 4 4 4 4 4 4 4 0 0 0 0 2 2 2 2
4 4 4 4 4 4 4 4 0 0 0 0 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0
3 3 3 3

Bm G A
   
EE = 555 555 555 555 555 = 555 555 555 555 555 55 55 55 55 55
G 55 55 55 55 55 55 55 55 55 55 = 55 55 55 55 55 = 55 55 55 55
55 55 55 55 55 5 5 5 5
5 5 5 5
2 2 2 2 2 2 2 2 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 2 2 2
4 4 4 4 4 4 4 4 0 0 0 0 2 2 2
4 4 4 4 4 4 4 4 0 0 0 0 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 0 0 0
3 3 3 3
56 | TABLATURE

Verse
Bm G Asus2
EE M
G M= 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 4

^
2. I watched the world float to the dark side of the moon.
3. See additional lyrics

EE M 5 5
G M 5 5 5 5 5 5 5 5 5
5 5 5 5
5
M 4
3
4 0 0 2
0
M 2
4 4
2
0
0
2
3

Bm *G ** A7sus2

EE =M $
G 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
Af - ter all, I knew it had to be some - thing to do with you.

E 5 5 5
GE 5 5 5 5 5 5
5 5 5
5 5 5 5
0
3 0
4 4 0 0 0
4 4 0
2 2 0
3
*2nd time, bass plays E. **2nd time, bass plays F#.

Bm G Asus2
EE =  5 5 5 5 5 5M =M $
G 5 5 5 5 5 5 5 5 5 5 5
I real - ly don’t mind what hap - pens now and then, as

EE 5 5
G 5 5 5 5 5 5 5 5 5
5 5 5 5
5
3 0
4 4 0 0 2
4 4 0 2
2 2 0
3

Bm *** G *** A7sus2

EE 5 5 5 5 5 5 5 5 5 5 5 5 4
G  
long as you’ll be my friend at the end.

E 5 5 5
GE 5 5 5 5 5 5 5 5 5
5 5 5 5
0
3 0
4 4 0 0 0
4 4 0
2 2 0
3
***2nd time, as before.

| australianguitarmag.com.au
 | 57

C Chorus
B5 G5 A5
EE 5 5 5 5 5 5 5 5 5
G 3 5 5 5 5 5 5 5
Well, if I go cra - zy, then will you still call me Su - per - man?
EE 5 55 55 55
G 5 55 55 55 55
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
P.M. µ P.M. µ P.M. µ P.M. µ P.M. µ P.M. µ P.M. µ
f
w/ dist.

9 9 9 9 5 5 7 7
9 9 9 9 5 5 7 7
7 7 7 7 7 7 7 7 7 7 3 3 3 3 3 3 5 5 5 5 5 5

B5 E5 μ(F#5)
EE = 5 5 5 5 5 5M 5 5 5 5 5 5 5 5 5 5
G 
If I’m a - live and, well, will you be there hold - ing my hand?

EE
G 55 55 55 55 55 55 5
5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5
P.M. µ P.M. µ P.M. µ
P.M. µ P.M. µ

9 9 9 9 2 2
9 9 9 9 2 2 5 4 0
7 7 7 7 7 7 7 7 7 7 0 0 0 0 0 0 2

B5 G5 A5
EE 5 5 5 5 5 5 5 5 5
G = 5 5 5 5 5 5 =
I’ll keep you by my side with my su - per - hu - man might.

EE 5 55 55 55
G 5 55 55 55 55
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
P.M. µ P.M. µ P.M. µ P.M. µ P.M. µ P.M. µ P.M. µ

9 9 9 9 5 5 7 7
9 9 9 9 5 5 7 7
7 7 7 7 7 7 7 7 7 7 3 3 3 3 3 3 5 5 5 5 5 5

B5 E5 F#5
EE 5 5 5
G  = 5 5M 4 0
Kryp - to - nite.

EE 5 55 55 55 55 55
G 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 555 555 555 555 555 555 555 555 55 55 55 55 55 55 55 55
P.M. µ P.M. µ P.M. µ

9 9 9 9 9 9 2 2 2 2 2 2 2 2 4 4 4 4 4 4 4 4
9 9 9 9 9 9 2 2 2 2 2 2 2 2 4 4 4 4 4 4 4 4
7 7 7 7 7 7 7 7 7 7 7 7 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2
58 | TABLATURE

1.
Bm G A
   
EE = 555 555 555 555 555 = 555 555 555 555 555 55 55 55 55 55
G 55 55 55 55 55 55 55 55 55 55 = 55 55 55 55 55 = 55 55 55 55 55
55 55 55 55 55 5 5 5 5 5
5 5 5 5 5
mf
w/ clean tone
2 2 2 2 2 2 2 2 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 2 2 2 2
4 4 4 4 4 4 4 4 0 0 0 0 2 2 2 2
4 4 4 4 4 4 4 4 0 0 0 0 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0
3 3 3 3

Bm G A
  
EE = 555 555 555 555 555 = 555 555 555 555 555 55 55 55 55 55 
G 5 5 5 5 5 5 5 5 5 5 = 55 55 55 55 55 = 55 55 55 55 MM
5 5 5 5 5 5 5 5 5 5 55 55 55 55 55 55 55 55 55

2 2 2 2 2 2 2 2 3 3 3 3
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
0
3
0
3
0
3
0
2
2
2
2
2
2
M
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
0
2
0
2
0
2
0
2
2
0
2
0
2
0
M
3 3 3 3

2.
Interlude

EE M B5 G5 A5

G M 5 5 5 5 5M 5 5 k 5M 5 5 5 5 5M 5
5M 5
M
M 4 5 4 5 4 k7 5 4 5 4
7 5

4th time, T o Coda ;

B5 E5 F#5
EE MM
G 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5M
P.M. µ
M
5 7 5 7 5 7 5 7 4 5 4 5 4 5 4 0
M
7 7 5 5 7 5 5 7 7

B5 A G Bm A G
EE ' BB ' BB
G ' BB BB '
' BB BB
' B BB ' B BB
B B
mf
w/ clean tone
3 3
2 3 3 2 3
4 2 0 4 2 0
4 2 0 4 2 0
2 0 2 2 0 2
3 3

| australianguitarmag.com.au
 | 59

Chorus
Bm A G Bm
EE
G = 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 = 5 5 5 5 5 5M 5 5
If I go cra - zy, then will you still call me Su - per - man? If I’m a - live and well will

EE ' BB BB '
G ' ' BB BB '
'
' BB '
3
3 2 3 3
4 2 0 4
4 2 0 4
2 0 2 2
3

A G Bm A G
EE 5 5 5 5
G 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 = 5 5
you be there hold - ing my hand? I’ll keep you by my side with my su - per - hu - man might.

EE B BB ' BB BB
G BB BB '
' BB BB
B BB ' BB
3 3
2 3 3 2 3
2 0 4 2 0
2 0 4 2 0
0 2 2 0 2
3 3

D.S. al Coda
(take 2nd ending) ; Coda
Bm A G B5
EE 5 B BM 5 EE 
G 5 = 5 0
^

G
Kryp - to - nite. Yeah!

EE ' BB 55 EE 
G ' ' BB 55 5 G ' '
' 55 '
f
w/ dist.
3
3 2 3
4 2 0 4
4 2 0 4
2 0 2 2
3 19

Additional Lyrics

3. You called me strong, you called me weak,

But still your secrets I will keep.
You took for granted all the times I never let you down.
You stumbled in and bumped your head.
If not for me, then you’d be dead.
I picked you up and put you back on solid ground.
60 | HOT GEAR

HOT
GEAR SHURE
SE215 SOUND
ISOLATING
EARPHONES
RRP: $149 • jands.com.au

The place you’d rather be is right here. Get immersive

sound that turns your commute into a concert, and your
workout into the discovery of new musical dimensions.
Available in four colours in both wired and wireless options,
the SE215 delivers off-the-shelf audio for a better listening
experience in every situation.

FENDER TONE MASTER

TWIN REVERB
RRP: $1,899 • fender.com

In a bold Fender first, the Tone

Master Twin Reverb amplifier uses
massive digital processing power
to achieve a remarkable sonic feat:
faithfully modelling the circuitry
and 85-watt power output of an
original Twin tube amp. Using a
high-performance 200-watt digital
power amp to achieve the headroom ERNIE BALL VPJR TUNER
and dynamic range of a real vintage RRP: $650 • cmcmusic.com.au
Twin tube amp, paired with the
pronounced sparkle and clarity The Ernie Ball VPJR Tuner is the perfect combination of two pedals that
of two Jensen N-12K neodymium every musician depends on, offering precise volume control with an enhanced
speakers and a resonant pine definition digital tuner, while saving valuable space on your pedalboard. The
cabinet, the result is tubeless Twin pedal features a fast and accurate chromatic tuner with a graphic volume display
Reverb tone, volume and dynamics, that is visually attractive and easy to operate. The large, sunlight-readable
virtually indistinguishable from the display automatically switches between tuner and volume modes depending on
all-tube original. the signal level, allowing the player to tune at minimal volume.

KEMPER KABINET
FENDER VINTERA ‘60S RRP: $TBC • innovativemusic.com.au
JAZZMASTER
RRP: $1,999 • fender.com The Kemper Kabinet is a combination of the Kemper Kone
loudspeaker and an extensive speaker tone mining technology
For players who want the style and developed by Kemper, making it possible to digitally “imprint”
sound of Fender’s golden era. Equipped various speaker characteristics onto one single cabinet. Among
with the coveted features that defined the imprints, you’ll find the finest choice of well-known guitar
the decade, including period-accurate speakers from Celestion, JBL, Jensen and many more, as well
neck profile and playing feel, along with as rare and particular speakers from other manufacturers like
re-voiced pickups, this guitar has all of Oxford and Goodmans Audio.
the warm, smooth sound that made the
Jazzmaster a legend.

| australianguitarmag.com.au
 | 61

BEHRINGER WASP DELUXE SYNTHESISER

RRP: $699 • australismusic.com.au

This monophonic analog synth delivers a faithful reproduction of the

classic 1978 EDP Wasp, sporting the same bone-rattling lows and searing
highs that made the original model infamous amongst synth circles. As the
name insinuates, the Wasp Deluxe excels at droney, buzzy and waspy synth
sounds, all made possible by its two digital oscillators, distinctive analog
VCF, noise generator, and a hive of modulation capabilities.

TWO NOTES
TORPEDO CAPTOR X
RRP: $949
innovativemusic.com.au

Playing your tube amp in

a great sounding room, with
an exceptional choice of
perfectly matched speaker
cabinets and microphones,
is a truly joyous and
unparalleled experience.
The Torpedo Captor X is for
tube amp lovers who crave
this every time they play, no
matter the environment.

ERNIE BALL FLAT

RIBBON PATCH CABLES
RRP: $18.95+ • cmcmusic.com.au

Ernie Ball’s new flat ribbon patch

cables feature a high-quality design
made with superior components that
are built to last, while providing you
a clear tone with crisp highs, tight
mids and rich harmonics. Key design
elements include 99.95 percent
PIGTRONIX oxygen-free copper for corrosion
PHILOSOPHER’S TONE resistance, and dual shielding for low
MICRO PEDAL noise and durability. The flat cable
RRP: $199 • dynamicmusic.com.au
LINE 6 POWERCAB 112 + design and low-profile connectors
112 PLUS allow for optimised pedalboard
Turn lead to gold with the RRP: $1,299+ • au.yamaha.com layout and cable routing. Multiple
Pigtronix Philosopher’s Tone Micro. shielding materials preserve the
Famous for its noiseless clean The Powercab 112 and Powercab 112 signal and minimise handling noise,
sustain, the Philosopher’s Tone Plus are one-by-12-inch active speaker and the durable PVC jacket exterior
stands out as a uniquely powerful systems that deliver an authentic ‘amp ensures long-lasting performance.
guitar effect in the crowded in the room’ playing experience when
world of compressor pedals. The paired with any modeller, profiler, or
Philosopher’s Tone Micro packs even an amp-simulation pedal.
all of the optical compression Select one of six classic Speaker
and unrivalled sustain of the Models as alternatives to your
original into a micro-sized current cab models, or simply plug
chassis that runs on a meagre in your modeler and play using Flat
nine volts of external power. Mode. Powercabs are loud enough to
fill any small club or medium-sized
venue, and performing guitarists will
also appreciate their lightweight yet
CORT MANSON META MBM-1 roadworthy construction, compact
RRP: $TBC • dynamicmusic.com.au size, flip-out kickstands and XLR
direct outputs.
Cort has teamed up with Manson Guitar Works and Muse frontman The Powercab 112 Plus also includes
Matthew Bellamy to develop an all-new signature model that is built to powerful advanced features such as a
Matthew’s exact and demanding specifications. The result is a superb rock two-inch LCD screen, 128 user preset
guitar with a full tone and rock-solid feel, without the boutique price. This locations, MIDI In/Out, AES/EBU and L6
exciting model features a specially designed set of pickups from Manson and LINK digital I/O, a multipurpose second
a discrete kill button to create unique sonic textures. input, and a USB audio interface.
 TWO PEDALS
ENDLESS SOUNDS
Zoom A1 Four.
The Zoom G1 FOUR and G1X FOUR feature over 70 effects and amp
models, looper and drum machine. Plus, access to ZOOM Guitar
Lab’s additional library of downloadable effects.

X is for Xpression

Zoom A1X Four.

The G1X FOUR comes with ZOOM’s expression pedal, which pro-
vides control over effects such as volume, wah, delay and pitch.
Plug in and be amazed!

We’re For Creators

®
Proudly distributed in Australia by Dynamic Music
 CAPTURE THE SOUND

TH E B E S T
OF A R T ’S
P RO D U C E R
PR O F I L E S F F T H E
WE RO U N D O
S EN T I A L T I P S
MOST ES E ’ V E
AND T RIC K S W
ED S O F A R
LEARN

BROUGHT TO YOU BY
RECORDING TIPS ROAD TESTED
EAT, SLEEP, JAM, REPEAT – HOW TO CAPTURE ELECTRO-VOICE EVOLVE 30M PORTABLE
WORLD-CLASS ACOUSTICS FROM YOUR BEDROOM POWERED COLUMN SYSTEM
64 | PRODUCER PROFILE

OUR STRONGEST LESSONS

LEARNED IN-STUDIO
TOP TIPS FROM SOME OF AUSTRALIA’S BEST RECORDING ENGINEERS AND
PRODUCERS. WORDS BY PETER ZALUZNY.

O
ver the last few years, a TIPS FOR WORKING WITH
lot of extremely talented LOUD GUITARS IN A LIVE
people that work behind RECORDING
desks in recording studios across “Gain structure and cutting
Australia have revealed their tips, frequencies are the two biggest
tricks and sound capturing secrets things that make live sound sound
for our little column. Many of these good. Push all your faders flat and
have almost been lost to the pages push all your levels up by gain when
of time, sitting in boxes, back issues you start. There’s no point giving
or buried in hard drives. So, we yourself 20 decibels of gain on a
decided to dig through the archives fader that you’re going to pull down
to bring you some of the best bits of by 20 decibels – it’s pointless and it
professional advice that we collected gives you gain structure issues. But
from over 30 interviews. if you have everything flat, you have
more control and you’re not pushing
HOW TO BALANCE your master all the time. You have
COMPRESSION AND headroom, and things aren’t going
GUITAR DISTORTION to feed back.” – Daniel Brown
“Compression is extremely
important for any song where you WHAT TO DO WHEN
want a powerful sound, especially YOU’RE MIXING A BROAD
for the vocal tracks and drums. But RANGE OF FREQUENCIES
the reason guitars are distorted AND DYNAMICS
to start with is basically due to “These days, I use a combination
the limitation of the signal, so of EQ, compression, panning and
it’s important not to make them effects to place instruments and
seem lifeless by compressing the parts accordingly, because it’s
distorted signal, which will result important for each instrument to
in zero dynamics. Just about the have its own space in the frequency
only time I’d run distorted guitars spectrum. It varies from track to
through compressors now is to track, but some key frequencies
impart the sound of the compressor that I tend to focus on initially are
without actually compressing it. around the 50-hertz, 80-hertz,
When guitars are layered up, this 100-hertz and 330-hertz area. In
especially helps the whole mix to terms of dynamics, contrasting
move and breathe, because they still dips and peaks are very effective.
have dynamics.” – Joseph Cheek Also, one way to catch the listener’s

| australianguitarmag.com.au
 | 65

attention and draw them to another is pretty important. With a male

instrument or part is by creating little vocal, the resonance of the persons
inconsistencies in a mix. For example, voice usually sits between 150 hertz
a ping pong delay coming through a to about 300 hertz, and a female
vocal reverb panned further out to vocal will be around 300 hertz. The
the sides.” – Jessicca Bennett bottom end of a mix will almost
always be below that, so I’ll make sure
THE UPS AND DOWNS OF that the bass, double bass, cellos,
PRODUCING YOUR OWN (OR synthesiser – whatever’s in the bottom
YOUR BAND’S) MUSIC. end – is really controlled and sitting
“The hardest thing is managing comfortably under the vocalist. But
perfectionism when I mix. There’s as I move up the frequency spectrum
always a nagging feeling about towards the vocal, I try to pan the
how my work stacks up, and I can instrumentation to the left or right
sink hours into tweaks or different so there’s a definite gap in the centre
approaches to try and bring the best that’s not intruding on the vocal
out in material. Obviously this is space.” – James Englund
amplified when it’s my band. I’ve been
training myself to sever that emotional HOW TO SLOWLY BUILD
connection to some extent, simply A SONG UP TO AN
for the preservation of my sanity! But EXPLOSIVE FINISH
understanding the personal dynamics “[It’s] detailed automation in
of the band, the things each musician the mix. If the volume increases too
needs to excel, and feeling satisfied much by the end, then compression
with the result, are some of the comes into play, especially when it
really tricky things about producing. comes to mastering. If the intro is
So the deep personal connection I too quite relatively, the whole track
have with my bandmates means that may need to be compressed too
they can be pretty straight-up with much to stand up, taking the impact
me about what they want and what away from the end. The key is to
needs to be better.” – Alex Wilson increase intensity in performances,
(sleepmakeswaves) rather than pure volume. A guitar
player that gradually digs in harder,
FINDING THE RIGHT letting the amp break up more and
INSTRUMENT TO SUPPORT more as the song goes on, is far more
YOUR VOCAL TAKE effective than just turning it up, for
“The bottom end of an arrangement example.” – Fraser Montgomery
66 | HOME RECORDING

BEDROOM ACOUSTICS,
PART TWO:
ACOUSTIC TREATMENT
SO YOU'VE GOT YOUR SPACE SORTED OUT. NOW LET'S MAKE IT
SOUND LIKE A WORLD-CLASS STUDIO! WORDS BY ROB LONG.

L
ast issue, we looked at the recording, but it can also totally
highly challenging issue mutate what you capture – there are
of soundproofing a room infinite possibilities. The biggest issue
for general recording and music here is the difference in time it takes
production. It’s tricky enough if you all of these different reflections to
own the property and have carte reach the single mic.
blanche on what you can do with it, The louder the sound's source
but it's far more difficult if you're is, the more it will interact with
renting and need to keep alterations the room. While high frequencies
(and damage!) to a minimum. are very directional and highly
This time, we'll take a brief look at reflective, lower frequencies become
the (only slightly) less daunting subject unidirectional and actually penetrate
of acoustic treatment. This deals with structures beyond the walls, doors
the behaviour of soundwaves within and windows.
the room – not with sound isolation The harder and ‘shinier’ your
from the outside world. surfaces are, the more they will
The average domestic dwelling is reflect soundwaves. Achieving
not designed to ‘sound good’ in any the delicate balance between
considerable way, so usually you’re reflection and absorption is a tricky
faced with some fairly daunting and business – and not everyone seeks
often immovable obstacles – low the same result. Obviously, there
ceilings, square rooms, windows are ‘live’ rooms and ‘quiet booths’ –
and doors placed in challenging but we're focusing here on those
positions, rooms next to bathrooms folks who essentially have one
and laundries... general-purpose room for tracking
Most studios are designed and and mixing. Your setup has to be
built from the ground up, obviously. useful in a multitude of situations.
However, most people delving into Reflections are not your arch
the world of recording begin with a enemy. It’s natural to hear reflected
basic setup, which slowly grows and sound – we do it all day long.
improves over time as things get However, reflections can seriously
serious and budgets expand. The gear complicate and dilute things in a
is often capable of producing great recording environment if the
results, however the room is often factors causing them are left
ABOVE: BELOW: overlooked, until such time as issues completely unchecked.
LOW CEILINGS, BOUNCING IN ALL and limitations begin to arise. Thus, Generally, for the home studio
HIGH POTENTIAL DIRECTIONS
acoustic treatment often becomes a projects, it's most sensible to record
perpetual ‘work in progress’. things as tightly and cleanly as
Basically, the better your ears, possible, with predominantly close
mics, preamps and converters are, micing techniques – then use digital
the more the issues will be apparent. means later to create space around
It’s a wake-up call capturing sound the sounds during the mixing phase.
sources with pristine equipment in a This makes every element more
less-than-pristine environment – not malleable and controllable, and of
unlike zooming in on a low-quality course less random.
image on a large screen.
LAYOUT
TIME TO REFLECT If you have the luxury to choose
A portion of the soundwaves which room you want to make your
within the room are termed ‘direct studio, obviously you want to pick
sound’, which travels in a straight the largest one you can get a hold
line between the source and the of. Not because you can fit more
microphone. This is obviously the gear into it, but because the further
‘meat’ of the tone you’re attempting your walls and ceilings are from your
to capture in its purest form. sound sources, the less impact their
However, thrown into the bargain reflections will have on things.
are soundwaves reflected off all As much as possible, you want
surfaces (including the floor and to make your setup symmetrical.
ceiling) and can bounce around in Soundwaves from your stereo
a myriad of directions – often back speakers need to travel identical
into the mic. This can enhance your routes to your ears, if possible –

| australianguitarmag.com.au
 | 67

An interesting way to approach the they hit the floor.

placement of acoustic treatment is to You can minimise ceiling
have someone move a mirror around reflections in various ways, and
the walls and ceiling. Any place you don’t necessarily need to treat
see a reflection of your speakers in the entire ceiling. I’ve seen people
the mirror is an ideal candidate for hang an old parachute upside down
absorption or diffusion. from the ceiling – looks great! More
conventional methods might involve
THE THREE AMIGOS using a mixture of absorbers and
There are three main types of diffusers. These can be fixed
commercially available acoustic directly to the ceiling, or sometimes
treatment devices, which are more strategically ‘hung’ on panels
found in virtually any professional which are floated from the ceiling
recording space. They all have their like a ‘soundcloud’.
uses, and work together to achieve Absorbers reduce a portion of the
the final result. incidental acoustic energy in order to
minimise the amount being reflected
SET SOME BASS TRAPS back into the room. They actually
Corners are generally not your convert the sound energy into heat;
friend. Soundwaves – particularly in they deal with a specific frequency
low frequencies – tend to build up in range – usually upper mids to highs.
corners, as the two surfaces reflect They are often the first thing people
waves back and forth. Of course, a grab for, and thus when used alone,
typical room has twelve corners – or excessively, can completely suck
four around the walls, four from floor out the very frequencies that make
to wall, and four from ceiling to wall. many instruments and the human
Think about those dark, smelly voice coherent.
rehearsal rooms which sound Diffusers, on the other hand,
like oversized boomboxes. Look scatter the sound energy over a wide
around, and you’ll find a whole lot range of angles, rather than allowing
of high-to-mid frequency absorption a coherent reflection to bounce back
(often stuff you’d find on a council as it would on a flat, solid surface.
clean up) – and absolutely no work It’s important to ensure that the
put into absorbing low frequencies. soundwaves remain in the room.
The result is a room that sounds For this reason, diffusers tend to
like a subwoofer, where there’s work better in larger rooms. These
absolutely no clarity in anything devices look amazing, but can be
above 800 hertz. quite expensive as they are usually
The bass trap is really a great labour-intensive to build. Think of
starting point for acoustic treatment. them more as ‘icing on the cake’
Tame those low frequencies early on, rather than fundamental essentials.
and the rest of the room will (usually)
be much easier to deal with. SOFTWARE
It’s common to use software to aid
REACH FOR THE in ‘tuning’ your room from the inside
CEILING out. This often involves generating
Most studios have a mix of hard frequencies from you studio speakers
and soft surfaces. The general into a mic which captures information
approach is to have a soft ceiling, and analyses it, giving important
a hard floor, and a mix for the walls. feedback on your setup.
If you think about it, there’s a wide Acoustic treatment is a deep and
variation in ceiling height from room complex subject, which involves
to room and building to building, so years of dedicated study to fully
the distance from the ceiling to your understand. Hopefully this article
ears is always changing. On the will help kickstart some thoughts
other hand, the distance from your about how you can work to improve
ears to the floor is always the same – your current setup.
that's just dependent on your height. You may wish to take things
So this becomes an important further by doing some more serious
source of orientation. research, visiting professional
Low ceilings really mess with studios, asking questions or talking
overhead mics on drums, and can to a professional acoustic engineer.
create all kinds of phasing issues. The Or you may decide that you’d rather
TOP: MIDDLE: BOTTOM: average adult’s head is well above just record in the box with samples
WALL-TO-WALL A HOMEMADE TRAP THAT BASS!
the halfway point between the ceiling and loops and mix with a good set of
ABSORBTION SOLUTION TO
SOAKING UP SOUND and floor in the standard dwelling. headphones, and bypass the whole
Thus, if they are singing, or holding issue! Whichever route you choose
otherwise you’ll have an impaired can easily find yourself pushing and an instrument above the shoulders to head down, remember – the most
impression of the stereo field (kind of pulling things all over the place and (violins, violas, most brass and important piece of equipment in
like one dirty lens on your glasses). tearing your hair out. Often you’ll woodwind instruments, etcetera), the the studio is your ears… Oh, and the
Try to give as much space as see a fair bit of work put into the reflections will hit the ceiling before coffee machine!
possible between the speakers and rear wall of a studio (bass trapping,
the back wall of the room. If you’re absorption, diffusion), as the length Rob Long is a multi-instrumentalist and producer
mixing and getting heavy reflections of the room will often coincide with
back into your listening position, you the ‘peak’ of a low frequency wave.
working @FunkyLizardStudios in Newcastle.
68 | REVIEWS

RRP: $2,195
ELECTRO-VOICE EVOLVE 30M
PORTABLE POWERED COLUMN SYSTEM
ALEX WILSON EXPLORES A COMPACT SPEAKER AND MIXER
PACKAGE THAT MAKES LIVE SOUND STUPID EASY.

I
n the past decade or so, the big (literally) audio desk, claiming the same thing on their ad boilerplate.
tech of live sound has been challenged by smaller The key takeaway is that a non-professional could
digital upstarts. While the tired “analog vs. digital familiarize themselves with the basics of how the 30M
debate rages eternally online, any time working in works in fifteen minutes and then be ready to get on
the live industry will show you the writing on the wall. with running their event, or busking, or whatever.
Digital smokes analog in the venues of the world. Big Talking shop, the 30M includes an eight-channel
tube or transistor warmth is not nearly as compelling digital mixer. Different signals hit the mixer via six
in the rush and roar of live sound as in the studio. combi-jack inputs on the back. One of these jacks
Electro-Voice (EV) obeys the law. They keep can be switched to a quarter-inch Hi-Z input, better
shrinking the technology required for live shows down for quiet signals like guitar or bass pickups. Another
into smaller packages. The 30M is an even slimmer is a stereo pair that can be switched to unbalanced
version of their already compact 50M. These are two RCA or eighth-inch inputs, say for plugging in a
slightly different versions of a one-stop-shop product phone, TV or computer.
that attaches a digital mixer to a highly portable PA Another simple, inspired feature is inclusion of
system, placing everything you need for a small show dedicated and flexible Bluetooth connection. In the
or event under your fingertips. first instance, the digital audio that can be played
If you’re the kind of person to ask, “what’s a column via Bluetooth makes up the final stereo pair of the
system?” then this product has been made to be easy eight-channel input stage. I love the democratic,
for you. The column is the stand and small rectangle unsnooty vibe here. It’s a kind concession to average,
of speakers that sit atop it. Column arrays have less non-techy folks who wouldn’t think to bring an aux
perceived loudness than larger box speakers, but EV cable or RCAs if they want playback from another
have unflinchingly committed to the portability and device. The Bluetooth feature can be taken further,
user-friendliness offered by the smaller drivers. The either as a means of connecting your control device
end result, is impressive. The 6-by-2.8-inch drivers in to the speaker, or even as a means to commonly
the column, powered by 500w (solid-state) and with connect and control multiple 30Ms if you want to
another 500 going to the subwoofer, pump out a fairly expand the setup. Classy.
impressive 123 decibels of SPL. In real terms this is All these various signals are controlled by EV’s
enough juice for a medium size, medium volume band QuickSmart app, run from iOS and Android devices.
or a cranking dancefloor where uncle Terry can cut rug In addition to QuickSmart, more features are built
to Hall ‘n Oates after a few pinots. into the sub and tweakable via buttons and an LCD.
I didn’t have any similar speakers on hand to But you could do near everything in the app. Boot
compare with the 30M, but on its own the one I had it up on your phone and you’ll have access to basic
offered ample, transparent headroom. Some of this digital channel strips for each input, as well as master
can be attributed to the little slant on the column array controls to control the overall response of the unit and
that offer 120 degrees of coverage. Or in other words, the balance between the different speaker sections.
shoots a bit of treble and mids towards the floor so QuickSmart is not as complex as other digital
it can bounce around and hit the ears of people that mixer platforms, which is mainly a strength but also
might be sitting down. The 30M also has a low-key but a qualified weakness. What I love is how simple and
powerful sense of quality despite its bantam weight. bullshit-free the app is, making it quick to learn and
EV is now owned by home appliance artisans Bosch, so hard to screw up if this is your first live sound rodeo.
its quite possible that fastidious and efficient German In terms of sheer capability, it pales in comparison
engineering accounts for some of the 30M’s oomph. to competing mix software from Soundcraft, for
And with the sub weighing a (relatively) paltry 16 instance, or Mackie. But this critique, while valid,
kilos, any relatively healthy human can carry one. must also be kept in context. One doesn’t need
Included with the 30M is a custom-designed zipless bells and whistles to use the 30M as intended, in
backpack to carry the stand and the column array. small settings where portability and ease-of-use
With the pack on your back and the speaker in your overshadows the need for finnicky detail.
hands, it’s a single trip from the stage to the car.
EV sell a matching padded bag for the 30M’s sub THE BOTTOM LINE
separately, and also have a generic sub transport bag By definition, no product can be perfect, because
that includes wheels and a telescopic handle if you it can never be everything to everyone. But judged as
want an extra hand free for another item. an accessible, comprehensive and fairly-priced audio
This is going to sound super-cheesy, but the 30M solution for small events, the 30M excels. Provided you
really does put control in the hands of the average don’t ask it to scream volumes louder than its small
person far more than most units that come across my size can handle, it won’t let you down.

TOP FEATURES WHAT WE RECKON CONTACT

• Transport backpack
• Practical Bluetooth compatibility
PROS CONS JANDS
Extremely portable for a PA Physical limits to the headroom and Ph: (02) 9582 0909
• 123 decibels of SPL performance
A simple and accessible mixing platform perceived loudness Web: jands.com.au
• 120-degree speaker coverage
• QuickSmart app for iOS and Android Sturdy and sleek design

| australianguitarmag.com.au
The EVOLVE 30M is designed to deliver a significant step up in all-around
performance for a column system in its size/price category – superior
Electro-Voice sound quality and flexible functionality combined in a very
compact package.

It is equipped with the most complete feature set in its class, including MIX YOUR SHOW LIKE A PRO
an eight-channel digital mixer, studio-quality onboard effects, and remote
control of all audio, effects and mix functions via the next-generation OPTIMIZE EVERY DETAIL OF YOUR SOUND
Electro-Voice QuickSmart Mobile application.
ROOM-FILLING COVERAGE
©2019 Bosch Security Systems, Inc.
SUPER-QUICK SETUP
SINGLE-TRIP PORTABILITY

Distributed by

www.jands.com.au
 Purchase a pair of
KRK ROKIT G4s
and redeem a set of
Shure SE215
Wired Earphones FREE!*
*Promotion ends 31/03/2020. Full T&C’s visit www.jands.com.au/promotions

Distributed by

www.jands.com.au
 1

MEET YOUR EXPERT

Jack Ellis runs Jack’s
Instrument Services from his
workshop in Manchester,
England. In his career, he’s
worked on thousands of
instruments, from simple fixes and
upgrades to complete rebuilds.
SKIL
LEVELL:
Interme
diate

SPICE UP YOUR STRAT

WITH SERIES SWITCHING
MAKE YOUR STRAT A SERIAL KILLER WITH THESE NEW SERIES HUMBUCKER SOUNDS
WHAT YOU NEED:
• 40-watt soldering iron
USING THE ORIGINAL SINGLE COILS. WORDS BY JACK ELLIS.
• Solder
• Wire cutters

T
his issue, we’re modding a Strat to give it a new wires that are left – these go to the jack socket and the
• Shrink tubing
series mode. You thought your Strat was versatile tremolo claw ground wire.
• Cloth pushback wire already? Now you can begin stepping into
• A500K or A250K humbucker territory. Here’s the diagram we’ll be using; a series mode for
push/push pot As standard, the Strat has this switch function: Neck /
2 Strats which uses a switch to put it into overdrive
• 2x A500K or Neck and Middle / Middle / Middle and Bridge / Bridge. but keep the classic Strat sounds too. The drawing calls
A250K pots The N&M and M&B settings are parallel connections of for two pots, a five-way selector switch and a push/pull
• 2x 0.022-microfarad the two single coils giving a classic ‘quack’ tone; if these pot – we’ll be using a push/push pot as the Strat knobs
tone capacitors coils were connected in series instead, they’d have a aren’t that easy to grab!
• PH2 screwdriver rounder and louder sound. This is actually how the two
• Small flathead coils in a humbucker are connected. So wouldn’t it be
screwdriver great to have that switchable? Enter the push/push pot,
• Wiring diagram a neato way of making a pot dual-function.
The new series modes are: Neck and Middle (series) /
Neck and Middle (series) / Kill switch / Middle and Bridge
(series) / Middle and Bridge (series). As you can see
If your Strat has RWRP pickups there’s now two new sounds there, plus a centre setting
(reverse wound, reverse kill switch as a bonus; you can toggle between the sounds
polarity) this means that the with the push/push switch!
combined pickup setting will
cancel humming just like a real To get started on the wiring, we need to gain access
humbucker – which of course is
1 first. On a Strat, that means out with about 1,000
where the pickup gets its name! screws! Be careful not to yank the plate when you lift it
up, as there’s still a couple of wires attached. Snip off the
72 | DIY

We’re using the old pickups again – even though they were from a Squier, The next job is to add the jumper wires to the five-way switch and the switch
3 there’s something about them we like. Carefully trim the pickup wires 6 pot, which involves making some fiddly connections. Preparing the jumper
without cutting them too short; we’ll need to use those again. Load in the new wires by tinning them as you go will help considerably. It’s good to get these fiddly
components and spin the pots so they won’t touch the walls of the cavity. wires on now, as later on they will get buried by the rest of the wiring work.

4 Here we’re tinning the connections on everything we’re going to use. The
volume pot has it’s rightmost leg bent to touch the back of the pot and is
soldered in place. The tinning process is a great way to prepare the parts and When adding a wire, strip one end, solder it on (always tinning), and then
makes it easier when it comes to the rest of the soldering.
7 look up where the wire is going. This will let you determine the how long
to cut the wire so it can be tucked out of the way. Excessively long wires don’t
just use up space – they increase capacitance and dull your sound. Cut them to
a healthy, short length.

Our tip for screened wires: prepare them like this! A screened wire is
Now it’s time to add the tone caps. Our diagram calls for two capacitors
8 effectively two wires – one carries the hot signal, while the other is
5 to be added. Use some shrink tubing to insulate the capacitor’s legs and connected to ground and screens the hot signal from hum. With the careful
stop them shorting out. Without the shrink tube, the capacitor could use of two pieces of shrink tube, you can safely isolate and insulate each
accidentally turn that tone pot into a volume pot! wire ready for the circuit.

| australianguitarmag.com.au
 Our wiring nest is getting close now. Imagine how glad we are that we
9 added the fiddly jumper wires on first! There’s a few cables left to attach:
the output jack hot and ground, and the tremolo claw ground. After that is a
good time to arrange the wires and tuck them out of the way so they’ll fit nicely
when we re-fit the plate.

Your ground wires will likely want to spring up out of the solder pool,
11 especially if there’s a few, so pin them in place with a flat-tipped
screw driver. This will also cool the solder faster. Assuming you’re using
pre-tinned wires, they’ll melt easily into the solder like Arnie at the end of
T2. Hasta la vista, baby!

Once everything’s soldered, check each joint against the diagram and
Here’s a great trick for getting the last few ground wires attached to the
12 make sure there’s no stray wires. To test the new functions, plug into
10 back of the pot: make a decent pool of solder on the back ready for the an amp and tap the pole pieces with a screwdriver. You should hear a new,
wires. A 40-watt iron really comes into its own here to supply enough heat. louder sound when the push/push switch is activated! When you’re happy,
Some pots are sensitive to the heat, so don’t go nuts with it. reassemble your tricked-out Strat!

12
74 | TECHNIQUE

SHREDDED METAL WITH JIMMY LARDNER-BROWN

COLUMN AUDIO AT
AUSTRALIANGUITARMAG.COM.AU

SIX-STRING SWEEPS
W
hen it comes to sweep 1
picking, the most
commonly used arpeggio
shapes involve either three or five
strings. However, it’s also possible to
use sweep picking to play arpeggios
across all six strings. These are
probably the most difficult sweep
picking arpeggios to master. For this
column, I’m going to look at the basic
six string shapes for a minor triad
(1-b3-5) and a major triad (1-3-5).
2
EXERCISE #1
This is the standard six string
minor arpeggio shape in the key of E
minor (Bar #1). I’ve also included the
recommended left-hand fingering.
To play the notes on the same frets
on adjacent strings, you will need
to roll your finger on and off the
strings in order to separate each note.
Practice the shape slowly until it feels
comfortable under your left hand.
The second part of this exercise 3
(Bars #2 and #3) involves sweep
picking the arpeggio shape, ascending
and descending across six strings
(and then repeated). Note how it
begins with a hammer-on on the sixth
string, and a pull-off is used on the
first string when descending. The
key here is to use the one continuous
pick stroke down and then up (like
strumming a chord) while the left
hand simultaneously frets then
slightly releases each note.
The rhythm here is somewhat
unusual since it involves septuplets
(seven notes per beat). Start off slowly
with a metronome, ensuring that
the initial ascending downstroke and
descending upstroke is on the beat.

EXERCISE #2
This is the standard six string
shape in the key of E major. The only
thing different from the minor shape
is that the b3 degree is raised by a
half step (becoming a major third). here – however, the subsequent C FAMOUS LAST WORDS publication for such a long time. I’d
Practice the shape in the same way and D major arpeggios only This is my final column for also like to thank everyone who’s ever
as advised in Exercise #1. ascend/descend once. Aim to get it Australian Guitar. I started writing this reached out to me over the years to
up to around 120 beats per minute. Shredded Metal series way back in let me know how much they’ve enjoyed
EXERCISE #3 The passage finishes with a short September 2008 (AG #69). I’ve loved and benefited from my columns.
I’ve incorporated the minor pull-off lick into a whole-step bend sharing my knowledge of shred and If you’d like to keep up to date
and major six-string sweep-picked to the root note. My use of this final metal guitar with our readers over the with my future musical endeavours,
arpeggios into a short exercise bend was deliberate – to make the years, and I truly hope that guitarists please check out my website
using an Im-VII-VI-VII-Im chord point that if your bending, vibrato, have found my columns helpful and (jimmylardnerbrown.com) or follow
progression. As such, the arpeggios and overall feel is lacking, any fast interesting. I’d like to thank everyone me on social media – the links are all
used are Em-D-C-D-Em. The opening or technical shredding essentially at Australian Guitar for allowing me on the site. Thanks for reading, and
Em and D arpeggios are looped twice becomes meaningless. the privilege of writing for such a fine as always, keep shredding!

| australianguitarmag.com.au
 | 75
CHORDS

GETTING STARTED
WITH SLASH CHORDS
GET CREATIVE WITH SOME EASY NEW SHAPES AS WE
EXPLAIN HOW SLASH CHORDS WORK.

SLASHER PICS! FOUR CHORD SHAPES TO GET YOU ROCKING

D G X D G X A E X A E

C C

B B E A E A

G D G D G G

G G/D Am Am/G

1 OPEN CHORD: G 2 SLASH CHORD: G/B 3 OPEN CHORD: AM 1 SLASH CHORD: AM/G
You probably already know this Ditch the low G and the chord Another easy open chord. Here we’re adding a G note in
open G chord. becomes G/B – because B is the Surely you know this one! the bass. Hence you get Am/G.
lowest note.

“I’VE HEARD OF SLASH CHORDS,

q =60
D/F #
BUT WHAT ARE THEY?”
C G/B Am G Em
It’s a simple idea – they’re chords
whose lowest note isn’t the root. # 4 . œœ œœ ˙˙ œ œœ ˙˙ ..
The root note in, say, an A chord & 4 . œœœ ˙˙ œœ ˙˙
1 STEP-BY-STEP CHANGES œœ ˙ œœ œ ˙
would be A; in a G chord it would be
G. Basically, the root is the note the G/B and D/F# are the slash œ œ ˙
chord gets its name from. Easy! It’s chords here. The idea is that
the same for any kind of chord – Am, these chords offer a step by T . 0
1 3
0
1
3
0 3
0
0 .
Amaj7, A13 or any other kind of ‘A step move from C to Am and A
B
. 0
2
3
0
0
2
2
2
0
0
0
2
2
0
0
2
2
.
chord’ all have A root notes. Now, from G to Em. 3 2 0
to come back to slash chords – if
you played an A chord, but with a q =75
different note in the bass, then that D/F # G/B D/A C/E N.C.
would be a slash chord. Get it?
# # 4 . œœ œœ œœ œœ n œœœ œœœ œ œ œ ..
& 4 .œœœ œ œ œ
“I THINK SO, BUT I DON’T
REALLY UNDERSTAND WHY
2 HIGHER UP THE NECK
We’re using two power chord
œœ œ œ
IT’S IMPORTANT.” shapes here, with fifth- and let ring let ring

Well, it’s important in that it’s a fourth-string root notes.

T . 77 8 7 5 .
whole other category of chords you
can use in creative ways.
Switching between the full
shape and just the root note A
B
.797 7
9
7
7
5 7
5
5 7 5
7
5
7
.
adds shape to the riff.
“GOT IT. CAN YOU GIVE ME SOME
WELL-KNOWN EXAMPLES OF
SLASH CHORDS?”
Sure! Jimi Hendrix’s “Little Wing” the right where we’re looking at a notes’ you could apply to the chords the open position so the chords are
is a masterclass in slash chords – in handful of shapes and covering some you already know. And every time easy beginner-friendly shapes.
fact, much of Jimi’s rhythm style essential basics. you learn a new chord, you could be
uses them. Van Halen’s “Running making up even more slash chords – “HOW SHALL I TACKLE THE
With The Devil” is crammed full of “THAT’S REALLY EASY! SURELY just add or take away a bass note. SECOND EXAMPLE?”
slash chords. For a ‘90s take on THERE’S MORE TO IT?” Hopefully it’s not too tough to
proceedings, have a listen to Reef’s Well, we’ve shown you the easiest “HOW DO I GO ABOUT USING THESE play. For now, though, play through
“Place Your Hands”. way to understand slash chords – just SHAPES IN SOME MUSIC?” the tab slowly and see if you can
use any note other than the root in Take a look at our tab examples identify the bass notes. None of the
“HOW DO I GET STARTED WITH the bass. As you say: simple! There below where you’ll find a mix of typical bass notes are root notes of their
SLASH CHORDS?” are potentially limitless possibilities, shapes played in a more musical respective chords – which means
Take a look at the box out on though. Just think how many ‘slash context. The first example is based in they’re slash chords.
76 | TECHNIQUE
SIGNATURES

MINOR KEY SIGNATURES

GET THE MINOR KEY BASICS DOWN WITH THIS SIMPLE THEORY LESSON.

J
ust like major keys, a minor
1 1 1 1 1 To play in a minor key,
key signature tells you which 4 1 1 7 12 1 1 1 1 1 1 you need to know the
notes are likely to appear
2 2 1 1 2 2 natural minor scale. These
in the songs you play. What’s the
shapes will help you get
difference between the two kinds
3 3 3 2 1 1 started. You can also use
of key? Well, just like major and
the minor pentatonic scale if
minor chords, the major kind tend
4 4 4 3 3 4 4 4 4 4 4 4 you like – it’s just a simpler
to sound bright and happy whereas
version of the natural
minor keys sound darker and
4 4 minor scale.
moodier. Vital info then!
Knowing which notes to use E natural minor scale E natural minor scale E minor pentatonic
and the general mood of the key
signature will help you whether
you’re writing your next song or
playing along with a jam track.
1 2 3
b
4 5 b
6 7
b
8
There are three vital notes and
intervals that give minor keys their E F# G A B C D E
signature sound: the B third, the B TONE SEMITONE TONE TONE SEMITONE TONE TONE
sixth and the B seventh.
Grab your guitar, stretch your
fingers and read on – we’ll explain
a bit more. E G E X X D G B E A G

EXAMPLE #1: E MINOR C

SCALE NOTES
With only one sharp note (F#), B E B F# E
E minor is a nice easy key
signature to start with. G is the D G G
all important B third interval (or, a
minor third) found three semitones F#
higher than the root note. Compare C E A
that with the key of E major (E
F# G# A B C# D#) where there’s Em7 F#m7b5 Gmaj7 Am7
no G note – but a G# ‘major third’
four-semitone interval instead. See X X G B E X X D
if you can work out the B sixth and
the B seventh intervals. C

EXAMPLE #2: CHORDS B A F# E A F#

IN E MINOR
If you want to jam in E minor, D C
you’ll need to know some suitable
chords, and all of the shapes shown F#
here use only notes from the key
signature. We usually show finger
numbers on our chord boxes but
we’ve written the notes here so
Bm7 Cmaj7 Am7
you can see how the chords relate
to the key signature.

EXAMPLE #3: E MINOR LICK q =110

We’ll round off with a melodic E5 C5 E5
œ œ Dœ œ œ A~~~~~~~~~~~
5
œ
D C/E

˙~~~~~~ œ œ œ œ
1/4
j
rock lick in the key of E minor. #4 œ œ œ œ œ
œ œ œ œ œœœœ
All the notes come from the key & 4 œœœœœœœœœ œ œ œ Œ
and appear in the scale shapes
~~~~~~ ~~~~~~~~~~~
let ring RP 3

we looked at. Remember, the best BU

10
BD
1/4
reason for learning to play ‘in key’ T 4 5 4 5 7
5
9
7 8 10 8 10 (12) (12) [12 ] (10 ) 8
9 9 7 9 7
A 5 7 7 5 5 7 7 7
is so that you can also learn how B 5 7 7

to play out of key – on purpose, of

course – adding light, shade and
colour to give you the sounds
you’re after!

| australianguitarmag.com.au
®
Music takes off with
RRP
.95
$ 79 EACH

INCLUADG
ES
AB

Flight TUS35 ABS

Hardwearing Travel Ukuleles
A unique range of Ukuleles. Made mostly from ABS plastic with
a wooden top and arched back and plastic body. Great sound and fantastic durability.
Includes Aquila strings. Available in Dark Blue, Light Blue, Natural, Orange, Red,
Yellow, White and Black. All include a travel bag.

RRP RRP RRP RRP

$ 110
INCLUGDES
$ 140
INCLUGDES
$ 160
INCLUGDES
$ 240
INCLUGDES
BA BA BA BA

Flight NUC310 Flight NUT310 Flight NUB310 Flight DUC445

Concert Uke Tenor Uke Baritone Uke Concert Acacia Uke, Gloss Finish
Sapele wood top, back and side with Includes a Sapele wood top, back and side Sapele wood top, back and side with Includes premium features including Aquila
a lasered rosette pattern around with a lasered rosette pattern around the a lasered rosette pattern around strings, bone nut and saddle and intricate
the sound hole. sound hole. Great for players wanting a the sound hole. fretboard inlays.
great sound and look at an affordable price.

RRP RRP RRP RRP

.95
$ 150
INCLUGDES
$ 99
INCLUGDES
$ 450
INCLUGDES
$ 480
INCLUGDES
BA BA BA BA

Flight DUC323 Flight NUS350 DC Flight VICCEQ Flight VICTEQ

Concert Uke Mahogany Dreamcatcher Soprano Uke Victoria Concert CEQ Ukulele Victoria Tenor CEQ Ukulele
Includes Aquila strings, bone nut and Sapele wood top, back and side with Solid top spruce and acacia back and sides Solid top spruce and acacia back and sides
saddle and rosettes. Electro acoustic a lasered rosette pattern around gives a lovely rich tone. Includes pickup. gives a lovely rich tone. Includes pickup.
models also available. the sound hole.

Flight Ukuleles are available from all good music shops nationally and also from Hal Leonard Australia
All prices are recommended retail prices including GST and are subject to change without notice. www.halleonard.com.au
AMP UP YOUR VOCAL SKILLS
VAN HALEN’S VOCAL COACH GIVES US GUITARISTS THE ESSENTIALS FOR BETTER
SINGING TECHNIQUE. WORDS BY ALISON RICHTER AND ROB LAING.

A
s a musician, you should treat your voice you can use that knowledge to breathe more phrase. The breath is a setup for the phrase
with the same care as your guitar, whether effectively as a singer. If your chest rises and falls, you’re going to sing, not a catch-up for the phrase
you’re a leader singer or just contributing you are doing it all wrong. you just completed.”
the odd backup harmony. And it’s especially easy “Try this simple exercise: stand with your feet
to overlook good technique when you’ve got two
jobs to do at once.
shoulder-width apart. Bend slightly over at the
waist and place your hands on your knees, as
2 YOUR GUITAR CAN BE A PART
OF YOUR TRAINING
Voice coach (and guitarist, bassist, luthier, if you dropped a tortoiseshell guitar pick on a “If you play guitar or bass, the sooner you
producer, etcetera) Peter Strobl has worked with brown shag rug. integrate your singing with your instrument,
musicians including Eddie and Wolfgang Van “Blow out any residual air while pulling your the better. I started working with Wolfgang Van
Halen, and Clutch’s Neil Fallon, on improving their stomach muscles (yes, they’re in there somewhere) Halen at 17 years old – him, not me. From the
technique as playing singers. Now he’s here to in toward your spine. Now, let your stomach relax very beginning, I had him strap on a bass, play
offer us a no-nonsense set of essential tips you can and fall toward the floor. descending five-note exercises, 5-4-3-2-1, and
start using now. “Unless someone has duct-taped your face, you sing the notes as he played them. Musicians tend
will notice that air enters your body through the to shortchange vocal development in favour of
1 THE WHOLE PROCESS STARTS
WITH YOUR BREATH
holes in your face. Now push your stomach in again
toward your spine to expel the air. Notice that
their instrument.
“But when you find yourself standing in front of
“Learn how to breathe properly. There appears you have to work harder to exhale than to inhale. a vocal mic, the average listener relates to you as
to be massive confusion about this basic process. Inhaling is passive. a singer first. As the sessions progressed, I used
‘Should my stomach go out? In? Should my lower “Many singers start a phrase with residual various vowels and consonants in order to address
back expand? Should my kidneys explode?’ breath in the lungs, sing until they run out, and specific areas of development. The scales became
“Breathing is what happens when you just then take a quick breath that is more to catch more difficult as his strength, stamina, and range
relax and do nothing at all. Otherwise we would up than it is to prepare for the next phrase. The developed. Learning to sing what you play and play
die when we fall asleep. Inhaling is actually a voice is a reed instrument. Watch any woodwind what you sing will improve your musicianship as
passive activity that happens when your abdominal player – they breathe before the phrase, not after. both a singer and a player.
muscles relax. Exhaling happens when your Think of the breath as a pickup to the phrase. “No matter how accomplished a player you are,
abs tighten. Once you understand that process, Breathe, play the phrase, breathe, play the next there is always someone out there better. But
80 | DIY

there is no one who can possibly sing exactly like

you. Your voice is unique. Work hard and use your
instrument as a tool to support and develop your
skills as a vocalist.”

3 LEAN WITH YOUR FOREHEAD,

NOT YOUR CHIN
“If you look into a mirror and rock your head
up and down, back and forth, you will see the
muscles of your neck and throat flexing with
each movement. Each movement represents
tension that could have an effect on your vocal
performance and could cause problems over time.
The most relaxed head position is when you’re
looking forward toward an imaginary horizon.
“If you think about letting your forehead be
the first part of your body to enter a room, you
will have the idea. Microphone placement for
guitar and bass players is hugely important.
Many guitar players have a yard sale of pedals
at their feet and put the mic stand on the other
side. They have to reach out with their neck and
shoulders in order to get to the mic. Distorting
the architecture of your vocal instrument
compromises everything to do with singing.
“When I started working with Eddie and Wolf
Van Halen, their vocal mics were high and pointed
down so they had to sing up into them from below
– sort of a Lemmy posture. We moved the mics so
that they could look down the barrel of the mic
and see the floor about six to eight feet away. In
many live situations, this is where the audience is
in relation to the vocal mic. If they can see your
nose hairs, your mic is too high.
“We also moved Ed’s mic stand to the side of his
effects pedals and used a long boom to place the
microphone exactly where his face would be when
he was singing. This eliminated the need to reach
out with his neck to get to the mic.”

4 PAY CLOSE ATTENTION TO

YOUR POSTURE
“Nate Bergman fronts Lionize and plays a Gibson
Les Paul. A solidbody guitar like that can weigh
seven-to-ten pounds. This is why it’s so important
to play vocal exercises at the same time as you
sing them. Watch your posture, and make sure
that what you felt from learning to breathe while
bending at the waist is still happening when you’re
in playing position. A gallon of water weighs about
eight pounds, so if you hang a gallon of water on a
clothes line around your neck and jump around on
stage for an hour, that’s what’s happening with a
guitar. It’s hard work on your back and legs.
“The first thing you must do is nail down what
it feels like to breathe correctly. Then figure out
how to maintain that sensation in the posture
you assume when you’ve got this anchor hanging
around your neck. It helps to be strong and
physically fit. The moment the big muscles of
your back, shoulders, and abdomen fail, the small
muscles of your neck and throat will try to take
over. The result is vocal tension, vocal strain, and a
shorter career. The more you lean forward toward
your microphone, the heavier the instrument feels,
because it’s now suspended in mid-air. So posture
and mic position are hugely important.
“Remember that gravity goes straight down into
the centre of the Earth, so if you’re cantilevered, if
you’re leaning over, the instrument is going to feel
heavier than if you’re standing straight. This will
bind up and overwork your back and stomach. And
you must maintain elasticity in your abdomen in
order to continue breathing efficiently.”

| australianguitarmag.com.au
 5 THERE IS NO CORRECT WAY
TO SCREAM
should do exercises that counteract what you’ve
roasted during your gig. This is where singers get
“If you want to deliver your message forcefully and
command every emotional nuance in an aggressive
“If you’re singing aggressive rock or metal, completely bullshitted by people in my business genre, learn to take care of your voice before,
you must come to the honest realisation that who say, ‘This is the proper way to scream your after, and between gigs so you can start every gig
you’re damaging a very fragile instrument, and guts out,’ or hand you a straw to sing through, at ground zero and not in the hole.”
take steps to do strict maintenance daily, and pat you on the ass, and cash your cheque. Don’t
before and after gigs. Imagine a football player
who beats the hell out of himself on game day.
waste your time. There’s no safe way to sing
metal. You’ve got to scream, you’ve got to be
6 DON’T FORGET TO LEARN
YOUR LYRICS
After suffering what amounts to a few dozen car aggressive, you’ve got to be honestly rebellious. “Don’t expect to be taken seriously if you
crashes, he takes the rest of the week to rehab and Anything less is bullshit. are reading lyrics from an iPad. The worst
fix things. You can’t practise being a lineman by “Watch concert footage of Clutch to see what bloody item ever invented is the iPad/mic stand
just smashing your head into the garage wall for comes out of Neil Fallon in an hour-and-a-half attachment. Reading on the gig screws with your
three sets of ten every day and then expect to be show. Touring the new album, he is working posture and concentration and destroys any
in top form for the game. harder, but singing with more freedom than sense of connection with an audience. People
“There are those who claim to teach ‘rock ever. It is because he’s bought into the concept don’t go to concerts to be read to. If that were the
screaming’, ‘metal screaming’, and other silliness of taking care of himself before and between case, the biggest ticket in town would be Story
as if there is some sort of legitimate pedagogy concerts if he expects to do this for another Time at the Library.
involved. Rock ’n’ roll is an art form of rebellion, 25 years. He is putting in the reps doing very “Have some respect for not only your audience,
so let’s just get real and face the facts: there is basic breathing and falsetto exercises that have but for the art and craft of singing. Reading lyrics
no ‘correct’ way to be aggressive. The very act of nothing to do with his songs but everything to might be fine in a bar or a wedding band, when
playing a guitar amp at distorted levels spits in the do with building and maintaining his most you’re taking requests and you can’t possibly
face of the original designs. Worn-out tubes and important instrument. know all the songs ever written. But you can’t
capacitors can be replaced. But once your voice is “Incidentally, Neil leans toward a feather-light consider yourself a serious concert musician
gone, it’s lunchtime. Gibson ES-335 and actually gets a little rest when if you’re doing that – unless, of course, you’re
“Accept the fact that you’re damaging your he straps on the guitar and stands at the mic for getting a monthly cheque for product placement.
voice. Before every gig, and between gigs, you a few songs. Otherwise, leave the tablet in the gigbag.”
82 | TONE

SO YOU WANNA SOUND LIKE Y ou know the man, the myth and the
legend – now it’s time to crack that
classic, timeless tone that made Eddie

EDDIE VAN HALEN

Van Halen one of the most revered guitarists in
the world. Taking into account the fact that many
of us don’t have the kinds of budgets Eddie would
(or anywhere close to them), we’ve put together
a surprisingly cheap, yet law-defyingly accurate
recreation of EVH’s setup that any shredder with
a paper route could take pride in.

| australianguitarmag.com.au
 MXR 5150 OVERDRIVE PEDAL
Eddie is a rarity, as he’s been more heavily involved in designing the
gear he uses than nearly any other guitar hero since Hendrix. He knew
what he wanted and it gave birth to one of the greatest high gain amps
of all time: the Peavey 5150. Its blue channel this is based on became a
huge hit with metal players, but Eddie used less gain than some think.
The contemporary EVH 5150 III take on his amp head design costs
over a grand itself, so the launch of this pedal four years ago was
potential brown sound manna from heaven. Does it cut it? It does
very well. While Wampler’s Pinnacle is impressive, we think this is
as close as a pedal gets, and its in-built noise gate is a rare feature
indeed for a gain pedal.
At a median street price of $350, it’s not cheap, but it offers
boutique-level string definition for those EVH rhythms that are even
more important to nail than his leads. It’s versatile enough for great
classic rock and metal tones too and even sounds great at low
volumes – handy for the home!

EVH STRIPED SERIES GUITAR

A maple neck gets you a little more brightness you’ll want and a
Super-Strat-style body is a given. While we love the Charvel So-Cal
Series guitars, for less money we can get right on the Frankenstrat
money here with the entry-level Striped model. There’s even four
finish designs to cover every classic EVH era! But this is a guitar
that’s far more than looks, as you’d expect from the EVH name.
A genuine Floyd Rose will get you divebombing in no time,
and a D-Tuna takes you down to drop D faster than you can say
“Unchained”. A single bridge EVH Wolfgang humbucker and master
volume keeps things streamlined, and the graphite reinforcement in
the neck is our kind of strong and stable.

LANDLORD FROTHY DONNER MOD SQUARE

HEAD ECHO PEDAL MODULATION PEDAL
Eddie used an EP-3 Echoplex tape echo Our last ingredient is a crucial
in-between his Marshall Super Lead one: a phaser. Or is it a flanger?
and power amp without distorting the Well it’s both. Unchained is the
repeats. The Echoplex preamp also latter, Ain’t Talkin’ ’Bout Love uses
instilled its own character, but the a flanger in the intro and phaser
recent pedal version will set you in the solo – indeed an MXR Phase
back a couple hundred bucks 90 throughout the leads on the
on a good day. Let’s keep it first album. That alone will set us
simpler, then, with this back over $100, and we’re on a
bargain mini pedal that budget here, so we’re back to the
will cover the short bargain world of Chinese-made
delay time and mini pedals. This seven-mode
repeats required. special from Donner offers killer
bang for buck, including both a
phaser and flanger.
Your rig is officially complete –
and if you play your cards right,
and you’ll still have some coin left
over to buy some snazzy dungarees
like Eddie used to rock!
84 | CD REVIEWS
CABLE TIES POLARIS
Far Enough The Death Of Me
TOP PICK POISON CITY
An eight-track
exercise in blunt and
RESIST
Polaris stand as
definitive proof that
unforgiving catharsis, heavy music can have
the venomous second pop-level success in
album from Cable the current musical
Ties is inescapably landscape, and The
gripping from the Death Of Me paints a
first gravelly strum clear picture of why:
on “Hope” to the last every chorus is as
whip of feedback on catchy as it is callous,
“Pillow”. It’s brash and scrappy and loud as hell, every riff as riveting as it is ravaging, and every
and intentionally so – the Melbourne proto-punks breakdown as meticulous as it is merciless – and
are pissed off and fired up, and they translate the way that all gels together is downright stunning.

TAME IMPALA
their grievances effortlessly into fierce political Following 2017’s barrier-shattering Mortal Coil, LP2
poetry and punishing pummels on a fretboard. It’s is legions darker, denser, more mature and more
The Slow Rush a cracking listen on wax, no doubt, but with each
biting howl and crunchy riff that passes, we can’t
technical – and yet, it also sees Polaris embrace more
of the big and bouncy, emo-adjacent hooks that
ISLAND / MODULAR help but wish we were watching Cable Ties smash demand you bop along. Decades from now, a new
them out onstage; they’re an ace live band, and generation of moshlords will look back and sigh, “I

I
n the five years these cuts will make ace additions to their setlist. miss when they made albums like The Death Of Me.”
since releasing MATT DORIA MATT DORIA
Currents – their
major breakthrough INTROVERT SLØTFACE
into the universal Mending Breaking Sorry For The Late Reply
mainstream – Tame UNFD PROPELLER / CAROLINE
Impala (or more True to form for the For an album as
specifically, its main Novocastrian quartet, fun and frenzied as
brain Kevin Parker) Introvert swing wide it is, Sorry is almost
has gone through a with booming surprisingly earnest.
monolithic shift in bellows, crashing On it, Sløtface couple
public personality. Parker has become pop’s go-to guy snares and ripping spry pop anthems
for a dose of acidic idiosyncrasy, the peculiar-minded riffs in abundance on with tales of personal
Perthian buddying up with everyone from Mark Ronson their quasi-comeback grief and political
and The Flaming Lips to Kanye West and Rihanna. EP. Audie Franks aims angst. It shows the
Such worldly adventures have rubbed off suitably straight for the soul Norwegian trio have
on his main project’s unbearably long-awaited fourth with with his signature battered yells, his emotive grown exponentially since their ’17 debut, the tracks
LP, The Slow Rush, with a glittery, pop-consonant poetry crashing like a tonne of bricks while he equal measures more mature and manic. Too, the
shimmer slicked over a solid bulk of the hourlong wrings his heart out into his Jazzmaster. There’s breadth of stylistic ground they cover here is beyond
affair. “Is It True” could easily be a collaboration with an enthralling loud-soft dynamic at play with superlative, from the growly juts on “S.U.C.C.E.S.S.”
the aforementioned Ronson, with its funky bass throbs, the guitars, verses favouring cleaner and more to the soaring melodies on “Sink Or Swim”; the slick
pulsing wah and handclaps in excess. Parker hasn’t introspective strumming while choruses see Franks and suave licks on “Stuff” and the playful grooves of
collaborated with Daft Punk (yet, at least), but the ultra go ham with lashings of overdrive and distortion. “Tap The Pack”; the clean, sober strumming on “New
suave “Breathe Deeper”, with its creeping progression At a tight 20 minutes of gritty emo-pop as poignant Year, New Me” and the punkish fretting on “Crying In
and angular, ‘80s-channelling keyboard riff, instantly as it is punchy, the only real downside to Mending Amsterdam”. Even at its weakest points, Sorry is
throws our mind over to the French EDM duo. Breaking is that it isn’t twice as long. diverse, dynamic, and danceable as hell.
At its core, The Slow Rush is unquestionably a MATT DORIA MATT DORIA
Tame Impala record. The gauzy, droning guitars are
in full focus on early cuts like “Instant Forgiveness” MURA MASA STONE TEMPLE PILOTS
and “Posthumous Forgiveness”, with the record at RYC Perdida
large quickly building on them with eccentric synths, UNIVERSAL WARNER
thumping basslines and labyrinthine lashings of After cutting his Toto, I don’t think
digital percussion. It’s a natural progression from the teeth in the EDM we’re in the ‘90s
experimental Currents, and pitches Parker at his most scene with 2017’s anymore. LP #8 sees
confident and charged to date. He’s unafraid to dive self-titled debut, Stone Temple Pilots
into his inhumanly wide scope of influences, and the Mura Masa heads shed their signature
end result is a kaleidoscopic collision of shoegaze, in a decidedly more hard-rock veneer,
soul, hip-hop and disco. Do we wish there were more grounded direction trading bassy wallops
guitars? Definitely – but Parker’s experimentation with on the breezy and and overdrive for cool
electronics feels almost paradoxically natural. And, buoyant RYC (or acoustic strumming
where they are the focal point, the guitar parts are Raw Youth Collage, and… Flute sections?
always nothing short of magical. for the acronymphobic). True to its name, LP2 is Though a first spin might prove polarising, the band
Though we start slow, the LP gathers steam as it captivatingly cheerful and carefree, cuts built settle well into their newfound neo-country swing;
chugs along – by the time you reach the bright and primarily on bright, warbly guitar lines and crazy where they pop up, electric guitars sear with a
boppy “Lost In Yesterday” (where it’s all about that crisp drum machine beats, with vocals – if not Southern twang that feels perfectly angular to Jeff
prickly, punchy bass guitar), you should be dancing at Alex Crossan’s own, then from scene-stealing Gutt’s rich, harmonic vocals (to that end, Gutt sounds
your desk (or steering wheel, stereo, etc.) like you’re luminaries like Slowthai and Wolf Alice – often much more at home here than he did on the 2018
nine pints deep in a German nightclub where no one stacked and slathered in distortion. Jams like self-titled LP). Slow-burners build the bulk of Perdida,
knows your name and ‘embarrassment’ isn’t in your “No Hope Generation” and “Vicarious Living but what the disc lacks in energy, it makes up tenfold
vocabulary. We end on a high note with seven minutes Anthem” recall the simpler days of early ‘00s in emotional weight. Whether or not they hit all the
of Tame Impala’s classic technicolour prog-pop in pop-rock, sticky as all sweet hell and impossibly marks (spoiler: they do not), it’s commendable that
“One More Hour”, the good vibes as bountiful as easy to bop along to. Fun, apolitical and nostalgic, STP took such a major stylistic risk – especially when
Parker’s collection of reverb pedals. RYC is a pure joy to spin from cover to cover. it’d be so easy to rest on their laurels at this point.
MATT DORIA MATT DORIA MATT DORIA

| australianguitarmag.com.au
 ULTRA.
NEVER PLAY A TELE® THE SAME WAY AGAIN.
The American Ultra Telecaster ® in Texas Tea features a series/parallel circuit for a hotter output and fatter tone, activated by an S-1 switch.
American Ultra Series: All-New Body Contours. Ultra Noiseless ™ Pickups. Our Fastest-Playing Necks.
THE FUTURE OF
MAGAZINES
EXCLUSIVE! INSIDE THE AUSTRALIA’S
LEICA CAMERA ARCHIVE ONLY TIPA
MEMBER

INSPIRE YOUR PHOTOGRAPHY

REVEALED
OF
THE SECRETSILL
CANON’S BR RKIAN T
EOS-1D X MA III

WATCH A PASSION
CALL OF NATURE
THE BIRDIE FOR PENTAX
The World’s Be
Wildlife Photograst
Everything You Need 100 Years Of
To Know About Great Cameras
Getting Started In
Bird Photography phy
PLUS Sigma fp · Fujifilm X-Pro3
Panasonic Lumix S1H

Subscribe at www.techmags.com.au
Free delivery across Australia | Never miss an issue | Save money
 | 87

RRP: $3,899+
FENDER AMERICAN ULTRA TELECASTER
FENDER UPDATES THEIR TOP-OF-THE-RANGE TELECASTER DELUXE WITH A NEW SERIES NAME AND A
COMPLETE REEVALUATION AND REDESIGN OF VIRTUALLY EVERY FEATURE. WORDS BY PETER HODGSON.

Y
ou would think there would be no way to actually kept the pricing the same as the American traditional three-way pickup selector blade switch
improve upon a Telecaster. Heck, you can still Deluxe range that preceded the American Ultra. and an S1 switch stealthed into the top of the
walk into a store today and buy a Tele with Different models also get different fretboard volume pot. When the blade switch is in the middle
the same specs as one made in 1952. It’s a design woods on their maple necks. Arctic Pearl, Ultraburst position and the S1 is engaged, the two single coil
that works, and that continues to work even as new and Texas Tea get rosewood, while Butterscotch pickups are connected in series, effectively turning
genres spring up around it. Blonde, Cobra Blue, Mocha Burst and Plasma Red into one giant humbucker.
But Fender doesn’t rest on its laurels. The Fender Burst have maple. And those necks feature a new I tested this guitar on a live covers gig with my
of 2020 pays attention to what today’s players ‘Modern D’ profile with ultra rolled fretboard edges. trusty Marshall DSL50 on both its clean and dirty
want to hang onto from the old days and what they The shoulders of the neck are a little higher than you channels, and a bunch of effects including an
want to have incorporated from more recent guitar might expect and yet they strangely make the neck Eventide H9 Max for delays, reverb and weird pitch
development. Want a faithful ‘50s Tele replica? You feel thinner than it is, and extremely comfortable for shifting. The single coils are absolutely noise-free
can get that. Want a modern Tele that’s easier to long playing sessions or small hands. even under ridiculous amounts of gain, and the
play and more suited to the variety of tones a player The neck joins the body at a newly reshaped block faux-humbucker setting is great for thickening
in 2020 might require? That’s where the Fender joint which is more ergonomic than ever before. It’s the tone up even more. But my absolute favourite
American Ultra Telecaster comes in. It still feels like a not quite like an Ibanez All Access Neck Joint but as setting was the middle selector position with the
Telecaster, but it’s not your grandad’s Tele. far as what players want and expect from a Strat, S1 turned off, just running both single coils in
The essential stuff is still present. The body is alder this is easily the most accessible neck joint ever. The parallel into my Marshall’s Crunch channel set for
or ash depending on the finish you choose (alder is rest of the bevels have been slightly redesigned for just enough dirt to go from a crisp clean jangle
standard, but ash is spec’d for the Plasma Red Burst further comfort too. The fretboard has a compound to a brash, chunky, Malcolm Young-esque snap
and Butterscotch Blonde). The alder-body finishes radius starting at a roundish ten-inches at the nut depending on picking strength. This was absolutely
are Texas Tea, Ultraburst (the perfect three-colour end and flattening out to 14-inches at the widdly end one of the best live guitar sounds I’ve ever heard –
sunburst), Mocha Burst (an almost browny-gold of the neck. The 22 medium jumbo frets are finished something my co-guitarist also yelled out mid-song.
sunburst), Cobra Blue, Arctic Pearl, and one that has perfectly on our review guitar; and while some
to be seen in person to be truly appreciated: Texas players may bemoan the absence of so-hot-right- THE BOTTOM LINE
Tea, which looks black in low light conditions, but now stainless steel frets, it’s important to remember This guitar still very much sounds and plays
soon reveals itself to have subtle but effective colour- that stainless steel does have its own impact on the like a Telecaster instead of just coming off like a
shift elements that take on highlights of brown, tone – especially in terms of note attack, and in all Telecaster-shaped modern shred machine (although
gold and bottle-green depending on the lighting likelihood Fender would have tried it during the R&D the HSS Strat from this series that we reviewed last
conditions. You can’t adequately photograph it, but phase and found that it just took things a little too far issue definitely edges further towards that kind of
your live audience is gonna love it. from the brief. designation), so it’s not a million miles removed from
Note that a few models have higher RRPs, The electronics are another big deal. Fender what we might expect of Fender, but it’s definitely
including the Plasma Red Burst Telecaster reviewed has gone all-out in designing the fifth generation seven decades removed from the first Fender
here, and the Butterscotch Blonde. But Fender has of their Noiseless pickups, which are paired with a Broadcasters that hit the market in 1950.

TOP FEATURES WHAT WE RECKON CONTACT

• Alder or ash body
• Rosewood or maple fretboard
PROS CONS FENDER
Super playable No stainless steel frets Ph: (02) 8198 1300
• Fifth-generation noiseless pickups
Great range of new finishes Web: fender.com
• New neck shape Fretboard woods are locked to
• New body and neck joint Deluxe case included particular models
88 | REVIEWS

RRP: $1,850
MARKBASS LITTLE MARK VINTAGE
OLD SCHOOL TONES FOR THE MODERN PLAYER. WORDS BY STEVE HENDERSON.

N
ot satisfied with being the new millennium’s (with EMGs) and a fretless Stingray, and fed the Little device. You can wind in as much as you like so that it
most popular bass amp range, the folks at Mark Vintage into (variously) a Hartke 410, a Hartke just snips off the peaks or you can squash the whole
Markbass continue to release products that 115, and an old EV TL15. No matter the combination, sound. For straight up rock, you may not need it; but,
are both innovative and entirely practical. Such is the Little Mark had plenty of punch and projection. if you’re a funk player, you’re going to love it. But dial
the Little Mark Vintage – a compact bass head The lows were full and rich, and loaded with the kind it in gradually, because the natural compression of
with loads of character and plenty of power. The of subsonics you’d expect to hear from an SVT-style the tube will do some of the work, too.
Little Mark Vintage offers preamp and master gain amp. The mids punched through with authority and Since the Little Mark’s frequency range is 68–10k,
controls, an interactive four-band EQ section, a very the Stingray had that lovely, infectious whine that is so I paired it with a full range cab and plugged in
musical limiter, and a three-way “preset” EQ switch. much a part of what we love about the fretless sound. my Maton MSH-210D. The Little Mark produced a
But the real business in this amp is the 12AX7 that Using the two Hartkes together harnessed the Little beautifully clean, controlled acoustic guitar tone, with
adds all manner of harmonic content not available Mark’s full output for even more output and serious some serious weight behind every chord. Increasing
in solid state circuits. bass boom, thanks to the acoustic coupling of having the Gain and lowering the Master adds a warmth
There are still some bassists who disregard the that much cone area in such close proximity. But, for to the tone without losing the clarity, and a touch
benefits of the vacuum tube, preferring the more smaller gigs, I’d be happy to pair the amp with the TL of limiter keeps everything under control when
pristine edge of a transistor-based circuit. But a (the frequency response is 60-to-6.5k, so it has a very switching from single notes or fingerstyle to first
great many are returning to the more vintage tones rounded top end) or, for a more contemporary sound, position cowboy chords. This is a wicked acoustic
that were so integral to early and classic rock. a Markbass 210 (like the 102HF). amp, with more power than you’ll ever need.
The tube affects every aspect of what you hear: That previously mentioned three-way EQ switch is
the harmonic content of the tone, the attack of surprisingly effective. It provides three “platforms” THE BOTTOM LINE
the note, and the way the sound compresses and from which to start your quest for the perfect sound: The Little Mark Vintage is a punchy, tuneful amp
decays. The compression factor, alone, is worth the flat, scooped mids, and an old school muted treble. with a simple layout and no unnecessary bells and
effort of maintaining the tube section (you might The scooped mid position creates a very woody whistles. The tone circuit offers so many options that
have to replace it every couple of years) because tone that’s great for emulating jazzy upright tones. it’s easy or a player to find their personal sound. And,
tube compression is a most musical effect, whereas The sound seems to swell around the stage, rather at just over two kilos, it’s an easy lug. The big knobs
solid-state amps tend to be overly snappy, even than be noticeably directional. For that classic rock give it a ‘60s vibe, but without the oversized enclosure:
harsh, in the attack of each note. The 12AX7 squashes thud, the “Old” setting is perfect for those Who or think of it as two rack spaces high and about half a
the attack just enough, and then allows the note to Zeppelin covers. Other features are, again, entirely rack wide. In fact, it doesn’t even need a handle – slip
bloom. The limiter adds to this by capping the peaks practical: like the variable DI – a real, transformer- it into your shoulder bag and you’re ready to rock. For
as the note sustains and then decays. It’s a very based DI and not just an attenuated tap off one of the professional or the serious amateur, the Little Mark
controllable effect, and it adds an organic feel to the outputs. The back-panel effects loop works well. Vintage represents truly excellent value for money,
the playing experience. I plugged in a number of pedals and an old SPX-90 with a professional build quality and a variety of tonal
The Little Mark Vintage delivers 500 watts into (it has a fabulous chorus using the pitch transposer) flavours that allows the player to “grow” their sound
four ohms and 300 watts into eight ohms – plenty of and the Little Mark didn’t skip a beat. The built-in into the future. As you develop, the Little Mark Vintage
power for most gigs. I switched between a custom PJ limiter, mentioned earlier, is a very “bass friendly” will be right there with you.

TOP FEATURES WHAT WE RECKON CONTACT

• 500 watts (four ohms) or 300 watts
(eight ohms) PROS CONS CMC MUSIC
• Tube preamp Great tones Only available in black and orange Ph: 02 9905 2511
• Four-band EQ/preset EQ switch Excellent quality Web: www.cmcmusic.com.au
• Built-in variable DI Pro facilities
• Effects loop, tuner out Light and portable

| australianguitarmag.com.au
 | 89

RRP: $1,850
FOCUSRITE SCARLETT 2I2 USB
AUDIO INTERFACE
THE THIRD-GENERATION SCARLETT 2I2 PROVIDES IMPRESSIVE,
PRO-QUALITY SOUND AND EASE OF USE. WORDS BY CHRIS GILL.

C
onsidering that more than 50 companies headroom, a USB-C port that minimises latency to studios, but the Scarlett 2i2’s Air feature does an
offer USB audio interfaces, it can be very undetectable levels and much more.  incredible job of capturing detail, ambience and
confusing to decide which one to buy. Scarlett 2i2 is a two-in/two-out interface with a sense of space that I previously was only able
While the sound quality of today’s digital home a combo XLR/quarter-inch input jack, preamp to achieve by renting preamps and outboard gear
recording products is significantly better than that gain knob, line/instrument level switch and Air worth tens of thousands of dollars.
of their analog counterparts from a few decades switch for each input, plus a 48-volt phantom Scarlett even made my inexpensive Rode
ago, all digital products are not created equal.  power switch, monitor level knob, direct monitor condenser mic sound like it received a significant
The quality of the unit’s components – like mode switch (off/mono/stereo), quarter-inch TRS upgrade. Thanks to the Air feature, Scarlett’s
A/D and D/A converters, preamps and filters – headphone jack with level control knob, USB-C port overall detail and clarity and the unit’s incredibly
can make all the difference between a lifelike, and quarter-inch TRS left and right line outputs.  low latency, it offers true high-end performance
dynamic recording and a flat, lacklustre one. The interface also comes bundled with an for an entry-level price.
Usually it’s wise to select a product from a impressive selection of supporting software,
company with a long history of making pro audio including Avid Pro Tools, First, Ableton Live Lite, THE BOTTOM LINE
products as a lot of their high-end expertise goes Focusrite Red plug-in suite and more. With its new upgrades and features, the
into every product they make.  Setting up the Scarlett 2i2 with your computer Focusrite Scarlett 2i2 is a serious digital audio
Focusrite have done just that for more than three recording system is incredibly easy thanks to interface that provides impressive pro-quality
decades, which is part of the reason why their Focusrite’s quick start tool, which automatically sound and ease of use that make it a great choice
Scarlett 2i2 is one of the most popular two-in/two- provides popup prompts and takes users to a for new and experienced recording enthusiasts
out USB audio interfaces available today. Focusrite webpage for customised installation.  alike. Upgraded mic preamps provide expanded
recently introduced the third generation version While Scarlett’s specs are quite impressive, headroom, lower noise and improved clarity and
of the Scarlett 2i2, which provides an upgraded even they don’t convey just how good this detail. The new Air feature enhances high-end
preamp design, a new Air mode that enhances interface sounds. Recording pro-quality vocals detail that is particularly effective for recording
high-end detail, inputs and outputs with improved can be particularly challenging in most home lifelike, dynamic vocals.

TOP FEATURES WHAT WE RECKON CONTACT

• Air mode
• USB-C port
PROS CONS INNOVATIVE MUSIC
Enhanced high-end detail None Ph: (03) 9540 0658
• Quarter-inch TRS line outputs
Upgraded mic preamps Web: innovativemusic.com.au
• Direct monitor mode switch
• 48-volt phantom power switch Incredibly low latency
Pro quality at an entry-level price point
90 | REVIEWS

RRP: $5,999
FRAMUS DEVIN
TOWNSEND STORMBENDER
FITTING FOR A VISIONARY, GENRE-DEFYING ARTIST LIKE
DEVIN TOWNSEND, THE STORMBENDER SEEMS LIKE AN
UNCONVENTIONAL INSTRUMENT, BUT MAKES PERFECT SENSE
ONCE YOU GET TO KNOW IT. WORDS BY CHRIS GILL.

T
he Framus Teambuilt Pro Series, which magnetic circuit that provides two distinct
comes between the company’s flagship humbucking and single-coil tones accessed via
Masterbuilt Custom Shop models and a push/pull switch on the master tone knob. The
import Standard D-Series line, offers several Evertune bridge and Graph Tech Ratio locking
different Artist Series electric guitars for an tuners keep the guitar perfectly in tune.
interesting group of players that includes Phil X The Devin Townsend Stormbender Artist Series
(who recently switched to Gibson), Stevie Salas boasts very aggressive and distinctive midrange,
and Alice In Chains frontman William DuVall.  thanks to the 635-hertz/3.4-kilohertz (bridge) and
But by far their most interesting artist is 780-hertz/-kilohertz (neck) peak frequencies of
progressive metal musician Devin Townsend (best its pickups’ humbucking and single-coil settings. 
known for the Devin Townsend Project, Strapping As a result, the guitar delivers a throaty,
Young Lad and his work on Steve Vai’s Sex And full-bodied sound that works equally well with
Religion), who collaborated with Framus on an high-gain and clean amp settings and also seems
appropriately out-of-the-ordinary model called to pull more tonal variation and range out of
the Stormbender Devin Townsend Artist Series.  standard amp tone controls. Even with a graphic
Fitting for a visionary, genre-defying artist EQ set to a scooped mid setting, the guitar’s tone
like Townsend, the Stormbender seems like an remains robust and chunky.
unconventional instrument, but it makes perfect Our example weighed a little more than nine
sense once you get to know it. pounds, but the weight is well distributed and
Although it’s built from conventional the guitar feels much lighter when strapped on
tonewoods, including a mahogany body and and played in a standing position. The fretwork
set maple neck, the Stormbender features a is stunning, with a smooth, fast feel, and access
generously thick two-inch body with a carved up and down the neck is unrestricted, thanks to
and contoured top and back with a AA flame the neck heel that is contoured seamlessly to the
maple top inset in an oval section running body like a neck-thru design.
down the middle of the body. 
The neck has a 25.5-inch scale, and THE BOTTOM LINE
22 extra-high jumbo frets installed With the Stormbender Artist Series, Framus’s
with Framus’s Invisible Fretwork Teambuilt staff and Devin Townsend have joined
Technology (IFT) and Plek set up. forces to offer a solidbody guitar with style
The model is available in transparent and sounds that are as innovative, appealing
Nirvana Black, and the tigerstripe and distinctive as Townsend’s music. A pair of
ebony fretboard is minimally adorned Devin Townsend’s signature Fishman Fluence
with a Devin Townsend circle at the 11th Transcendence pickups provide a selection of two
through 13th frets. distinctive full humbucking and single-coil tones.
Pickups are a pair of Townsend’s The guitar always stays perfectly in tune thanks
signature Fishman Fluence Transcendence to the Evertune bridge, locking Graph Tech Ratio
ceramic magnet humbuckers with a hybrid tuners and Graph Tech Tusq low-friction nut.

TOP FEATURES WHAT WE RECKON CONTACT

• Evertune bridge
• Locking Graph Tech Ratio tuners
PROS CONS AMBER TECH
Townsend’s signature pickups offer May cause a backache with Ph: (02) 9998 7600
• Low-friction Graph Tech Tusq nut
distinctive, can’t-find-elsewhere tones how heavy it is Web: ambertech.com.au
• Fishman Fluence Transcendence humbuckers
• Mahogany body and set maple neck Fretwork is stunning with a
smooth and fast feel.

| australianguitarmag.com.au
The New MOMENTUM Wireless

Hear the Difference

The New MOMENTUM Wireless combines
technology and craftsmanship that track to the
rhythm of your life. You decide how much of the
world you want to let in. Take them off, the music
stops. Put them on- and you‘re transported back
to your own sonic space.

Available in leading consumer electronics stores

and online.
 4 FLOORS OF HI-FI
3 DAYS OF MUSIC
in CENTRAL SYDNEY
VINYL RECORD FAIR!
KRIX MEGA-CINEMA!
PRIZES TO WIN!
HI-FI LEGENDS>>
IN EVERY ROOM!
NOVOTEL SYDNEY CENTRAL
3-5 APRIL 2020
Friday 2pm-8pm
Saturday 10am-5pm
Sunday 10am-4pm

FULL HI-FI SHOW + VINYL FAIR: $25

SAVE 20% at HIFI2020.com: $20
Students with card: $10
IJàDPN Vinyl fair only: $5
 | 93

RRP: $2,399+
GIBSON G-45 STANDARD
AND G-45 STUDIO
WITH GIBSON’S RENAISSANCE IN FULL SWING, THE COMPANY IS
SHOWING ITS HAND IN THE ACOUSTIC MARKET WITH TWO BRAND
NEW, MID-PRICED MODELS. WORDS BY DAVID MEAD.

E
veryone out there in guitar land knows is a composite of paper and resin and certainly not a
about Gibson’s efforts to rediscover its mojo ‘solid wood’ or even wood at all. However, it looks like
under a new CEO. We’ve looked at its revised ebony and is resilient and hard-wearing and so why
electric-guitar range and, so far, have found pretty shouldn’t it make a perfect fretboard material?
solid evidence that things are on the up again after a Half of us want to nod sagely here, while the other
painful dry spell. This new Generation series acoustic half battles with the ‘not a solid wood’ argument.
range – only two models strong for the moment – is a Richlite is not only sustainable, its ‘green’ credentials
bold venture for Gibson. The G-45 Studio in particular are fairly high as the paper part of the composite
is something the company is branding as “a new is generally from recycled sources. Its use is not
point of entry into a Gibson acoustic”. unknown – Martin’s lower-end models tend to use it,
Opening this pair’s very impressive-looking cases as well as MDF for their necks and Godin champions
reveals a handsome duo with a dialled-back level of it, too. This might just be a sign of the future
ornateness, giving the impression that build quality and so open-mindedness must prevail, however
is paramount. After all, the finest wines come with uncomfortable this shock of the new might make
the plainest labels. The G series is built at Gibson’s some of us feel.
renowned Montana plant and we’ve seen some Another characteristic shared by both models is
stunning instruments coming from that direction, so the pickup system. Fishman’s Sonitone is Gibson’s
needless to say, we’re a little bit excited. choice here, with the controls hidden away inside the
Running our eyes down the spec lists for each soundhole. Returning to an earlier theme, just what
guitar and we can see that the actual build materials is it that accounts for the difference in price point
are very similar on both models, with a few twists, between the two models? All we can say is that the
tweaks and refinements in the Standard model to Studio model looks a bit less well dressed. Think of a
justify the price hike of some $300. But it’s the Studio Studio Les Paul versus a Standard, for instance. But
model that captures our attention – we’re still having the differences aren’t too pronounced.
problems digesting the relatively low price point Standing them side by side, you can see the
for an all-solid-wood acoustic. Standard has slightly more ornate fingerboard
Both instruments have Sitka spruce tops markers, but both bodies are bound nicely, albeit
and walnut backs and sides. Sitka needs no with different materials. The Studio has a matte
introduction to an acoustic player, but the sonic finish whereas the Standard has a gloss top with matt
qualities of walnut might be a little unfamiliar to everywhere else – and both are nitrocellulose.
many. Nicely figured, it’s a less dense tonewood Sound-wise, the Studio is bright and crisp with
than either rosewood or mahogany and the sound all the ranges – treble, middle and bass – present
it produces falls somewhere in between. It has with no unwanted peaks or troughs in the frequency
the robust woodiness of mahogany but also the spectrum. This formula is repeated on the Standard
depth. of rosewood. Combined with the spruce model, with perhaps a little more presence in the
top, this could be a good pairing. mix: it has a tad more sparkle. Both have almost
The timber used for the neck is more identical necks – fattish but not unwieldy – and the
unfamiliar: utile. Tthe grain appears very actual playing experience is generally excellent. 
similar to mahogany and other mahogany The Fishman Sonitone system proves its worth
alternatives such as sapele. Its presence as an excellent companion when both guitars are
on a guitar is unusual, but with the plugged in, with a flexible control over the sound, its
recent lock-down on rosewoods and presence here adding another string to the G series’
other endangered woods, we suppose already formidable bow.
we’re the result of painstaking
research into alternatives. In any THE BOTTOM LINE
case, both necks are one-piece and Gibson have read the market and provided
the lamination on the front of the guitars that fill a gap in the mid-price range, to
headstocks is walnut. become workhorses for the next generation of
The fingerboard material differs acoustic players. Solid woods, nitro finishes and
between the Studio and Standard in the stamp of Gibson’s Montana facility’s high
that the former is walnut – again, not quality can only be a good thing.
so common, but it looks great and has a The naysayers will doubtless snipe, but we
reputation for strength and durability and so genuinely urge you to seek these guitars out and
should be fine – but the Standard is Richlite. This try them yourself.

TOP FEATURES WHAT WE RECKON CONTACT

• Fishman Sonitone pickup system
• Sitka spruce tops with walnut backs and sides
PROS CONS AUSTRALIS MUSIC
Both guitars are solidly built dreads with The presence of Richlite Ph: (02) 9698 4444
• Traditional scalloped X-bracing
almost irresistible price tags. might upset purists. Web: australismusic.com.au
• 16-inch fretboard radius
• Compound dovetail neck-to-body joint
94 | REVIEWS

RRP: $519
FISHMAN TRIPLEPLAY
CONNECT SYNTH SYSTEM
THIS SYSTEM MAY FINALLY CONVINCE EVEN THE MOST SKEPTICAL OF GUITARISTS TO EXPLORE THE VAST
WORLD OF SOUNDS THAT EXIST BEYOND THEIR BELOVED SIX STRINGS. WORDS BY CHRIS GILL.

E
ver since the first commercial guitar and it is tethered to a controller that is wonderfully in-app purchases, and users with TriplePlay Wireless
synthesisers were introduced back in the simple, featuring only a pair of large pushbuttons for MIDI systems can access the app via a separate
mid ‘70s, I’ve been fascinated by the scrolling through various settings on the app.  in-app purchase.
possibilities of controlling non-guitar sounds Unlike the previous TriplePlay package, the I’ve installed many hexaphonic pickups on guitars
with an electric guitar. However, over the years, TriplePlay Connect pickup is not wireless, but it over the last three decades, but the TriplePlay
numerous idiosyncrasies of guitar synth design connects directly to a wide variety of mobile devices Connect was by far the easiest and fastest. Once the
made that prospect not entirely ideal for me.  via the included Lightning or USB cables. Several pickup is in place and charged, the app automatically
From specialised guitar controllers and invasive different brackets provide a variety of non-invasive walks you through tuning, pickup sensitivity and
pickup installations to bulky proprietary cables and mounting options for both the pickup and controller. picking strength adjustments. After this setup is
rack- or floor-mounted sound modules, a guitar The mounting hardware is also magnetic, allowing completed, it’s smooth sailing for even the most
synth seemed more like a separate instrument you to quickly and easily remove and attach the tech-averse guitarists: most functions involve simply
unto itself rather than something I could easily and pickup and controller. pointing at the desired function or instrument. 
painlessly integrate into my existing gear rig. The app is laid out in a very easy-to-use and The selection of instruments is impressive and
Recently, Fishman introduced a few products understand fashion. Once the pickup is properly comprehensive, including keyboard instruments like
that may finally convince even the most skeptical installed and calibrated (the app walks you through pianos, organs and synths, a wide variety of acoustic
guitarists to explore the vast world of sounds this process), it’s truly a plug-and-play scenario, with brass, string, percussion and ethnic instruments,
that exist beyond our beloved six strings. The a wide variety of available instrument sounds or electric and acoustic basses, and drums. Available
Fishman TriplePlay Wireless MIDI Guitar Controller “combis” (combinations of any instrument sounds effects include amp simulators, chorus, phaser,
came first, which offers a hexaphonic pickup and that can be split; the split points between strings can tremolo, analog and modulated delay and reverb.
controller that communicates with software on a be adjusted to be any of the strings, including limiting Because of its vast selection of sounds and loops,
desktop or laptop computer.  the range on the frets) arranged as icons on the left.  the TriplePlay Connect app requires almost four
Fishman’s new TriplePlay Connect system For each individual sound there are multiple gigabytes of storage space on an iPad. Making new
goes even further for players who prefer the programmable options that include transpose, recordings and adding additional loops will require
most compact and portable system imaginable, dynamic response, EQ, MIDI FX arpeggiator, chord even more storage space, so the system is best for
thanks to its app-based design. It’s also the creator and auto key functions. In addition, eight use on iPads with higher memory capacity than
least-expensive guitar synth solution I’ve ever different effects can be placed in any order to those on the lower end of the spectrum.
encountered, costing about the same as a four audio effects slots, which can be put on each
high-falutin’ boutique stomp box. individual sound. THE BOTTOM LINE
The Fishman TriplePlay Connect system consists The app can be used for controlling sounds via the For guitarists who have always wanted to explore
of two items: a hexaphonic pickup and mounting guitar, playing and arranging loops for practice and the capabilities of controlling new sounds with their
brackets purchased from a retailer and the even for making multitrack recordings. Additional guitars but were confused by guitar synth systems,
TriplePlay Connect app, which is a free download. loops from Native Instruments and Big Fish in hip Fishman’s TriplePlay Connect offers the most
The hexaphonic pickup is slimmer than a pencil, hop, EDM/electronic and rock styles are available as affordable and easy-to-use solution available.

TOP FEATURES WHAT WE RECKON CONTACT

• Hexaphonic pickup and controller
• TriplePlay Connect app
PROS CONS DYNAMIC MUSIC
You can play along with drum, bass and The app is laid out in a very easy-to-use and Ph: (02) 9939 1299
• Multiple programmable options
instrument loops, and make multi-track understand fashion Web: dynamicmusic.com.au
• Magnetic mounting hardware
recordings via the software
• Large pushbuttons for scrolling Additional loops are available as in-app
through settings purchases

| australianguitarmag.com.au
 | 95

RRP: $189.99
EARTHQUAKER DEVICES PLUMES OVERDRIVE
THE EARTHQUAKER PLUMES PROVIDES OUTSTANDING DYNAMIC, ORGANIC AND
NATURAL-SOUNDING OVERDRIVE TONES, AND HAS A PRICE THAT WILL MAKE OTHER
STOMPBOX COMPANIES SCREAM. WORDS BY CHRIS GILL.

T
he Tube Screamer is easily one of the most selecting the three available clipping modes. Mode makes the guitar’s tone full, rich and sweet with a
popular and heavily copied circuits in the 1 is symmetrical clipping that provides the pedal’s vocal-like singing quality instead of a nasal honk.
overdrive pedal industry, so chances are most aggressive crunch; Mode 2 is a clean boost Mode 1 has the character of a modded Plexi
pretty good that most players either already have and Mode 3 is asymmetrical silicon diode clipping amp, while Mode 2 delivers true clean boost with
an original, a modded version or a clone of some similar to the original Screamer, but with more enhanced mids and Mode 3 provides classic ‘green’
sort in their rig whether they know it or not.  output and clarity.  overdrive with less compression and more dynamic
The Plumes Small Signal Shredder from The click-free footswitch provides flexi-switching string zing. The tone control is useful across its
EarthQuaker Devices is the latest stomp box that engages or bypasses the effect when it is entire range. Turn it counter-clockwise for bigger
inspired by Screamer-style overdrives, but they’ve tapped or can automatically engage the effect when bass or clockwise to boost treble without making
radically reimagined it with a new circuit that the footswitch is continuously held down and bypass the tone flabby or wimpy.
replaces the 4558 IC and BJT transistor buffers with the effect when the footswitch is released. A bright
JFET operational amplifiers to provide improved white LED illuminates when the effect is engaged. THE BOTTOM LINE
tone and performance, with more natural tone A 9-volt DC power supply with a standard 2.1mm The EarthQuaker Plumes provides outstanding
and organic dynamics, enhanced treble clarity and center negative barrel is required to power the dynamic, organic and natural-sounding overdrive
depth, lower noise and boosted midrange that hits pedal (there’s no battery power). tones that will make your guitar scream, while
the sweet spot.  A common complaint about Screamer-style its sub-$200 price will make other stompbox
In addition to overall tonal improvements, Plumes overdrives is that they sometimes sound a companies scream.
offers a much more useful tone control and three bit over-processed. That’s not a problem with Three clipping modes provide Marshall-like
different clipping modes that will make even the Plumes, as its overdrive is very organic and overdrive, clean boost and classic Screamer
industry’s best Screamer clones green with envy. natural-sounding, and provides the dynamic give overdrive at the flick of a switch. The Tone control
The Plumes pedal provides the standard and take of plugging directly into an overdriven provides a wider variety of EQ than that of similar
three-knob overdrive control configuration – tube amp. While there is a notable (and intentional) overdrive pedals while remaining musical and
Level, Gain and Tone – plus a mini toggle switch for midrange boost, it hits an ideal sweet spot that useful across its entire range.

TOP FEATURES WHAT WE RECKON CONTACT

• JFET operational amplifiers
• Level, Gain and Tone controls
PROS CONS YAMAHA AUSTRALIA
Marshall-like overdrive, clean boost and No battery power Ph: (03) 9693 5111
• Mini toggle switch for selecting clipping modes classic Screamer overdrive at the flick
of a switch Web: au.yamaha.com
• Nine-volt DC power supply
• Click-free footswitch Wider variety of EQ options than similar
overdrive pedals
96 | REVIEWS

RRP: $949 (G5220)

GRETSCH G5220 ELECTROMATIC JET BT $1,199 (G2622T)

SINGLE-CUT + G2622T STREAMLINER CENTER BLOCK

THESE ELECTROMATIC AND STREAMLINER MODELS ARE PERFECT FOR ANYONE WHO HAS EVER WANTED A
GRETSCH, AS WELL AS PLAYERS WHO MAY NOT HAVE CONSIDERED ONE BEFORE. WORDS BY CHRIS GILL.

T
o me, a Gretsch ranks as one of the top five cue from ‘60s-era Gretsch double cutaway hollowbody The G5220 Electromatic Jet’s pickups are impressively
essential electric guitars every guitarist should models like the 6120, Country Gentleman, Rally and hot, delivering blistering, ballsy overdrive that’s perfect
own, particularly since their models deliver a Viking, but it has a shallower 1.75-inch body depth and for most styles of rock, including metal and punk. The
unique sonic voice that’s unlike most other brands. spruce center block that runs the entire length of the frequency range is a little wider than that of a classic
One setback for many players is that the best-known body, distinguishing it as a semihollow model.  Gretsch Filter’tron, with big, tight bass, full, rounded
and most highly coveted Gretsch models like the Construction features include a laminated maple mids and surprisingly rich treble. 
6120, Duo Jet and White Falcon start at prices above body with aged white binding, black-and-antique white The G2622T Streamliner’s tone leans more towards
$2,000 and only go up from there. Fortunately, purfling and enlarged f-holes and a nato set neck classic Gretsch hollowbody territory, with a distinctive
Gretsch also offers much more affordable with a Thin U profile, laurel fingerboard, aged white midrange honk and reverb-like body resonance that’s
Electromatic and Streamliner models that deliver binding, 24.75-inch scale length, 12-inch radius, 22 ideal for anything from hot-rodded rockabilly to
impressive, genuine Gretsch style and vibe for about medium jumbo frets and Big Block fingerboard inlays.  smoking blues. The solid center block allows players
a quarter of the cost of the ‘professional’ models. The pickups are a pair of high-output Broad’Tron to crank the amp’s volume and gain way up without
The Gretsch G5220 Electromatic Jet BT Single-Cut BT-2S humbuckers; the hardware includes a Bigsby experiencing unwanted feedback.
is a descendent of the company’s timeless Duo Jet B70 vibrato tailpiece and black vintage-style control While both models are undeniably ideal for players
solidbody model, which has inspired players like Cliff knobs, while finish options are Gunmetal, Riviera looking for their first Gretsch as well as dedicated
Gallup, George Harrison, Malcolm Young, Billy Zoom, Blue and Torino Green. Both models share identical Gretsch junkies looking for another addition to their
Jeff Beck, Chris Cornell and more. Like the Duo Jet, control configurations consisting of a three-way pickup collections, they’re also highly recommended for
it features a chambered mahogany body with an selector toggle switch, master volume, master tone guitarists who previously may have never considered
arched laminated maple top and a mahogany set and individual volume controls for each pickup. a Gretsch. These are versatile, exceptionally playable
neck with a 24.6-inch scale length, 12-inch radius Absolutely every detail about these Electromatic instruments that sell for outrageously competitive
and 22 medium jumbo frets. It even includes classic and Streamliner models is dazzling, from the eye- street prices that are so affordable you may want to
G-Arrow control knobs.  catching finishes and impeccable construction to the seriously consider getting both.
However, this G5220 Electromatic model has a few comfortable playability and snarling, aggressive tone.
distinctive differences, including a slightly shallower Both models deliver distinctive Gretsch character that THE BOTTOM LINE
body depth (1.85 inches instead of two), Thin U neck will please the most discriminating vintage Gretsch Offering incredible tone, playability and style
profile, black walnut fingerboard with pearloid big enthusiasts and neophytes alike.  for street prices that are jaw-droppingly low, these
block inlays, V-shaped stop tailpiece, two Black Top In a blindfold test, most guitarists would not be able Electromatic and Streamliner models are perfect for
Broad’Tron humbucking pickups and a selection of to tell the difference between these guitars and many anyone who has ever wanted a Gretsch, as well as
cool finish options. of Gretsch’s more expensive boutique models – they’re players who may not have considered the company’s
The G2622T Streamliner Center Block takes a design simply that good. offerings before now.

TOP FEATURES WHAT WE RECKON CONTACT

• Chambered mahogany body (G5220)
• 24.6-inch (G5220) or 24.75-inch
PROS CONS GRETSCH
(G2622T) scale length Range of classic and modern finish options None Ph: (02) 9666 5077
• Classic G-Arrow control knobs (G5220) for both models
Web: gretsch.com.au
• Black Top Broad’Tron (G5220) or Hot pickups on the G5220 Electromatic Jet
Broad’Tron BT-2S (G2622T) humbuckers
• Big Block fingerboard inlays (G2622T) G2622T Streamliner’s classic tone

| australianguitarmag.com.au
 | 97

RRP: $265
ELECTRO-HARMONIX
RAM’S HEAD BIG MUFF PI
HEADS UP! ARGUABLY THE MOST ANTICIPATED OF THE BIG MUFF
REISSUES HAS LANDED. WORDS BY TREVOR CURWEN.

S
o, which is the most desired Big Muff of them graphics, although it is also found in pedals with All can be tailored with the wide-ranging tone
all? There have been many variations over other colours. knob – rolled back for smooth liquid sustain or
the years, but a lot of Muff aficionados have EHX has refined the new model’s circuitry with rolled forward for crispier, more cutting top-end.
a soft spot for the V2 Muff produced for a few years close reference to some vintage models, and Ultimately, a Big Muff is a Big Muff and any
from 1973 and known as the ‘Ram’s Head’ because A/B’ing it against our own ’73 vintage Ram’s Head particular version is going to be in the ballpark, but
of that bizarre little face on the front. The popularity confirms they’ve nailed it. The usual Big Muff range to aficionados it’s all about the subtle differences
may also have something to do with the fact that it’s is all here: the Sustain knob starts out at medium- and this one has pedigree. If Comfortably Numb
the model most associated with David Gilmour. gain overdrive, but soon transitions into saturated floats your boat, you’re a Dinosaur Jr fan or you
Now in its nano range of Big Muff reissues (that fuzzy sustain that just goes on and on, blooming want to cop Ernie Isley’s That Lady tone, then a
also includes the V1 Triangle Muff, Op-Amp Big into harmonic feedback as you hold a note. Ram’s Head is likely to be your preferred variation.
Muff and Green Russian), Electro-Harmonix has Tonally, there’s less bottom-end than in a lot
launched the Ram’s Head Big Muff Pi, said to be of other Big Muffs; here it’s tighter and more THE BOTTOM LINE
a reproduction of the ‘violet’ version, the most controlled. The midrange scoop is there, but the It’s excellent news that this particular flavour
common revision of Ram’s Head-period circuitry pedal’s overall balance of frequencies seems just of Big Muff is freely available once more – and it
as first seen in ’73 models with violet silk-screened right, yielding a lovely degree of string articulation. sounds every bit as good as it did back in 1973.

TOP FEATURES WHAT WE RECKON CONTACT

• True bypass
• Volume, Sustain, Tone and Bypass footswitch
PROS CONS VIBE MUSIC
Nails the classic Ram’s Head tone Why no violet-coloured graphics? Web: vibemusic.com.au
• Standard input and output
• Nine-volt battery or DC adaptor Compact size
(not included)
Very reasonably priced
• Tighter and more controlled bottom-end
98 | FINAL NOTE

Pictured: Christone ‘Kingfish’ Ingram (via Fender)

OWN YOUR TONE:

THE GUITAR TERMS YOU NEED TO KNOW
TO HELP YOU PERFECT THE FEEL AND SOUND OF YOUR GUITAR RIG, HERE’S A REFRESHER
ON SOME KEY CONCEPTS. WORDS BY DAVE BURRLUCK.

Y
our tone is about more than just sound; DYNAMIC RANGE between maximum possible dynamic range and
it’s the things that affect playing feel and The most important thing that an amp (or pedal) maximum possible compression. You need some
touch-sensitivity as well. Some players with lots of headroom offers you is dynamic range. dynamic range to get light and shade, in terms
like a clear, glassy note that can punch through This means that if you dig in and play hard, then of picking dynamics, into your sound. But you
any mix. Others need a swampy, down-and-dirty you hear that jump in loudness reproduced clearly also need compression to smooth and flatter and
drive tone to feel really at home. Others still and crisply. If you play softly again, the amp backs extend notes in a pleasant way.
need both, at the touch of a footswitch, to get off to a whisper immediately. How much or how little of each you want is
their point across. Good dynamic range means all the detail of absolutely central to achieving your perfect tone.
Our goal is to get to those sounds deliberately your playing, in terms of loud and soft dynamics, However, it’s not quite as simple as picking a spot
and methodically, whenever we want them – not is captured faithfully in your audible tone. This is on that spectrum and setting up camp there.
rely solely on random experimentation, as fun and great for players who rely on nuanced loud/quiet Why? Because your amp and drive pedals will
useful as that can be. But you don’t need a degree dynamics to convey emotion, such as blues players. also introduce a degree of natural compression
in audio engineering to get to the point where you So if dynamic range is so brilliant for capturing the themselves when you play. How much? Well, here’s
can make effective decisions about tone-tweaking. subtleties of your playing, why wouldn’t you want where things get tricky, because that amount
As with cooking, there are some simple building as much of it as possible?  varies depending on a variety of other factors –
blocks that can be combined in different ways to The answer is that it can be pretty revealing – which brings us to our next key term…
create thousands of distinct flavours. volume will rise and fall very abruptly according to
We’re going to look at some of those building how hard you’re picking, so your tone can sound a CLIPPING
blocks below, so we completely understand our key bit spiky and plunky if you’re not careful. Earlier on we looked at the concept of
ingredients before going on to show how they can Also, you don’t have a comfortable cushion of headroom. But there’s a crucial question to
be put to use in crafting your perfect tone. sustain to help you milk those bends and get notes answer: what happens when you run out of it?
soaring. Obviously you’re going to want a bit of Circuits that amplify signal – from the mighty
HEADROOM that, too – which leads us nicely to… power valves in your amp to the transistors
This is arguably the most important root concept in your overdrive pedal – all have a limit to
we need to understand before we can make any COMPRESSION how much signal they can handle while still
effective decisions about tone-tweaking. Headroom This process makes quiet sounds louder but also reproducing all of the waveform fully and
is the capacity of an amp or pedal to reproduce a quashes spikes in volume. In practical terms that faithfully. When they can’t amplify the full
signal faithfully without distorting. With an amp means it smooths out changes in volume and adds waveform any more, clipping occurs. 
that has lots of headroom, such as a Fender Twin, some flattering sustain.  As the name suggests, this means the peaks
you can turn it up loud at the master volume and By definition, compression means you that lose of the waveform are lopped off when they hit the
the sound will still remain glassy and clean, with some dynamic range – but, in exchange, you gain ceiling of how much the circuit can handle. This
the whole of the waveform of your signal amplified a more rounded, mellow attack to each note and a has profound effects on your sound and produces
clearly and faithfully.  pleasant bloom as the note fades.  those great crunchy drive sounds we all love. And
This is really important for players who rely on Dedicated compressor pedals can give you full because the loudest parts of the waveform get
delivering huge clean tone at gig volume – think control over how much and how little of this effect clipped off, it’s also a form of compression.
of Duane Eddy, for example, or the late surf-guitar you want. These are favoured by country players So, what causes clipping? One way clipping
master Dick Dale. Headroom isn’t just relevant for chicken picking, where you’re aiming for a occurs is to turn up the gain – the degree to which
to amps, either – some drive pedals, such as silky-smooth flow of rapid but clean notes with no the signal is being amplified by a given circuit.
Fulltone’s OCD, can be run at 18 volts to give them uneven spikes in volume. Likewise, Roger McGuinn When the circuit runs out of power to amplify the
more headroom than if they were operated on a of The Byrds fame uses one with a 12-string full waveform, clipping occurs at the peaks of the
standard nine-volt supply. electric to smooth out what might otherwise signal. But if the incoming signal is already pretty
So why is headroom also important in an be quite a brash sound and help notes ring and hot – for example, if it has already been boosted
overdrive, where you’re not aiming for pristine shimmer for longer. by a drive pedal earlier in the chain – then the
clean tones? To understand that, we need to move Already you can start to see that a given player’s threshold at which the circuit starts clipping is
on to our next key term… sweet spot will lie somewhere on the spectrum reached much quicker. 

| australianguitarmag.com.au
 Step Beyond
9001

HX Stomp is a professional-grade guitar

processor that delivers the sound of Helix amps, cabs,
and effects in an ultra-compact pedal.

Use it as a “super stompbox,” a backup or travel rig,

an add-on tone expander when combined with other modellers,
an audio interface—or even a complete guitar or bass rig.

LIKE US ON FACEBOOK
facebook.com/line6australia line6.com/hx-stomp
9000