Australian Guitar Volume 121 2017
Australian Guitar Volume 121 2017
Australian Guitar Volume 121 2017
15 PAGES
OF THE LATEST &
GREATEST GEAR!
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PLUS
GLITORIS
STRANGERS
LEWIS WATSON
21 MARK SEYMOUR
$10.99 NZ $11.90 (INC. GST)
VOLUME 121
62 95
CONTENTS REGULARS
4 Giveaways 68
20 MARK SEYMOUR 8 News
What do you do when you have a rock‘n’roll legacy within a band, but you also 68 Recordings Tips
want to honour your own musical evolution and where you’re at now? If you’re
86 Subscriptions
ex-Hunters & Collectors frontman Mark Seymour, the answer is simple: you string
together one of the most intriguing live releases of 2017. 76 Gettin’ The Blues
78 Lead
24 CHRIS SHIFFLET 79 Shredded Metal
When he’s not shredding stadiums across the world as a Foo Fighter, Chris Shifflett 80 Modern Theory
is a sucker for some quality country. Emily Swanson puts on her best (worst) Southern
82 Album Reviews
accent and gives us the lowdown on the Cali strummer’s third solo rodeo.
28 NORTHLANE TESTING
Where were you when Northlane dropped their surprise new album, Mesmer? 66 Positive Grid BIAS Head 91 Seymour Duncan
On album #4, the Sydney shred kings reach a climactic summit: the hard-toed line Palladium Gain Stage
67 Steinberg UR22 mkII
between soaring prog and crushing metalcore. And we dive right in. Recording Pack 92 Ernie Ball Paradigm
Phosphor Bronze
72 Collings D1 Dreadnought
34 COVER STORY: CHUCK BERRY Acoustic Guitar 93 DV Mark Silver
Generation GEN 15
With 64 of his 90 years spent riffing out to his heart’s content, there ain’t a soul on 74 Mesa Boogie Triple
this Earth that hasn’t been swept away by the sweet sounds of Chuck Berry. Andrew Crown TC-50 Guitar 94 Epiphone Limited Ed.
P Street looks back on the life, the lineage, the controversies and the crowning Amplifier Head Brendon Small “Snow
Falcon” Outfit
moments of a man one could argue was the inventor of rock‘n’roll. 88 Fender American
Professional Stratocaster 95 Epiphone Limited Ed.
46 THE SMITH STREET BAND 89 Fender American
Professional Stratocaster
Brent Hinds Flying V
Custom
If we had a dollar for everything we understood about Wil Wagner’s mind, we’d be...
Deluxe Shawbucker 96 Audiofly AF120 In-Ear
Dirt broke. The punk poet has carved a legacy out of his heart-on-sleeve jams, and on Monitors
The Smith Street Band’s fourth album, they’re more powerful than ever. Matt Doria riffs 90 Godin Summit Classic CT
on the gear that brought More Scared Of You Than You Are Of Me to life.
97 Audiofly AF240 Over-Ear
Headphones
4 | GIVEAWAYS
WIN!WIN!
EXCLUSIVE TABLATURE: ED SHEERAN - “ONE”
15 PAGES
OF THE LATEST &
GREATEST GEAR!
PLUS
GLITORIS
STRANGERS
LEWIS WATSON
21 MARK SEYMOUR
$10.99 NZ $11.90 ( NC. GST)
VOLUME 121
#121
EDITORIAL
EDITOR Lachlan Marks
FREELANCE DESIGNER Glen Downey
EDITORIAL ASSISTANT Matt Doria
COLUMNISTS
Adrian Whyte, Chris Zoupa, Jimmy Lardner-Brown,
Peter Hodgson, Reg Barber, Rob Long
CONTRIBUTORS
Andrew P. Street, Craig Carroll, Ed Lamington,
Matt Doria, Paul Southwell, Peter Hodgson,
Peter Zaluzny, Steve Henderson. Alex Wilson
ADVERTISING
NATIONAL ADVERTISING MANAGER
Lewis Preece
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6 | AUSTRALIAN GUITAR DIGITAL
EXCLUSIVE INTERVIEWS
TUTORIAL VIDEOS
MASTERS OF ROCK SLIDE GUITAR IMPROVISING UNPLUGGED BY
WITH STEVE FLACK WITH STEVE FLACK WITH STEVE FLACK ARRANGEMENT
Steve presents a tutorial based on Steve presents an ongoing series Steve explores the secrets of Steve Flack presents one of his
the style of a “Master of Rock Guitar”. covering slide guitar techniques. In improvisation. This issue features unaccompanied arrangements of
In this issue, he presents part four this issue, he presents part four of a part four of an improv-style study of popular music for the guitar. This
of a series covering Carlos Santana. Rose Tattoo style study. Included is the Gershwin/Duke tune “I Can’t Get issue features the tune “I Can’t
Included are backing tracks, tablature, a backing track, tablature, and Started”. Included is tablature, solo and Tell You Why” by Eagles. Included
and Guitar Pro 6 files. Guitar Pro 6 files. backing tracks, and Guitar Pro 6 files. is tablature.
Also available are our regular columns, supporting tracks and tablature, plus artist tracks, What’s New, gear galleries and more!
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8 | FIRST CHORD
SIMONE DOW
CURRENTLY PLAYING WITH
Voyager
ROLAND’S FINEST Vai. I’m a sucker for a great melodic solo that
gets stuck in your head and hits you in the feels
with big bends and swimming delays.
O
n April 1st, the music industry lost one of one, but that I felt the effects loop was located in the
its leading lights with the passing away wrong place in the signal chain. FIRST AXE
of Ikutaro Kakehashi at the age of 87. He immediately produced a well-worn note pad A red Encore electric that my parents
Mr. Kakehashi was a man of many titles: engineer, and took notes on my reasoning. He then handed me bought me in Scotland. It became my
businessman, entrepreneur, visionary and, best the pad and asked me to draw the signal chain that Frankenstein guitar that I taught myself how
of all, music enthusiast. He was the founder of I had been describing. I noticed that the pad was full to fix up and mod.
Ace Tone, and then the Roland Corporation. He of notes and ideas, with names, places and dates for
partnered with Laurens Hammond to produce, in each. I’m sure others must have suggested a similar CURRENT AXE
Japan, a new series of Hammond keyboards; he change because, on the next series of multi-effects, An Ernie Ball Musicman JPX seven-stringer.
created portable, affordable drum machines that the signal chain had, in fact, been reconfigured. I I picked it purely on specs as if I was to ever
are still used today; he developed, with Dave Smith soon learned that this type of conversation was very have a signature guitar. It features an alder
of Sequential Circuits, the Musical Instrument Digital typical of him. body with a chambered maple top, mahogany
Interface (MIDI) – a groundbreaking instrument Mr.Kakehashi readily listened to the end neck with an ebony fretboard, mahogany tone
communication system, still the gold standard user, was genuinely interested in their opinions and block, DiMarzio pickups and a five-way blade
to this day; he brought to the market incredible ideas, and was ready to respond if it made switch. It also has the extended lower horn
keyboards (for home and stage) that quickly for a better product. And while other companies recess for easier access to the upper frets. It’s
overcame the “American-made” bias; under the were building complex instruments for professionals, an absolute dream to play.
Boss marque, he reinvented effects pedals with Roland/Boss products were (and are still) built for
design features that immediately became the everyone. His products are as significant to the FAVOURITE GUITARIST OF ALL TIME
industry standard. And through it all, he was a development of contemporary music as Leo Fender’s My most influential guitarists have been
listener, welcoming outside input and responding Precision Bass and Randall Smith’s Boogie amplifier. Joe Satriani, Steve Vai and Gary Moore, so
to the market accordingly. Mr.Kakehashi believed that music is for everyone I wouldn’t feel right without mentioning all
I remember well the first time I metMr. and that his instruments should be for music makers three. Currently, Guthrie Govan makes me cry.
Kakehashi. It was in the late ‘80s at the Boulevarde of all levels. My enduring memory of him will always
Hotel, after a trade night. He called me “Mr. Steve” beof a gracious gentleman who had an immense CURRENT RELEASE
and genuinely wanted to know my opinion on his love for music and a youthful enthusiasm for Our new album, Ghost Mile, is out May 12th.
guitar products – especially the new ME-5multi- facilitating that love in others. Check out our latest Single “Ascension” on
effectunit. I told him it was great and that I owned By Steve Henderson YouTube, Spotify, our Facebook page or website,
iTunes, or wherever you like to check out music!
| australianguitarmag.com.au
10 | FEATURE
MIRROR, MIRROR,
ON THE WALL…
MIRRORLAND ISN’T JUST STRANGERS’ FIRST ALBUM IN FIVE YEARS – IT’S A COMPLETE REINVENTION
FOR THE MELBOURNE ROCKERS. BY MATT DORIA
F
or the longest while, it looked as if Strangers primary songwriter to keep their raft afloat. y’know, try to do the whole Oasis kind of thing,” he
were done and dusted. Persona Non Grata – “Very rarely was it just one of us writing for a continues. “And then further down the track, I would
the quintet’s promising debut album – dropped part,” Griffiths continues. “For most of the writing just riff out real hard the whole time, ‘cause I had
all the way back in 2012, and while touring efforts process, all four of us would go into the studio and twice as much room for it.”
had remained decent-to-casual since, the sheer throw ideas back and forth, and it was like that on Ultimately, Mirrorland strikes a forceful balance
notion of a second album seemed futile at best. most days of the week for well over a year. It was between the chunkier shredding common to hard
That was until the latter months of 2016, when it definitely a big team effort, and that’s what I think is rock and the melody-focused bends common to
was announced the now-quartet (having since axed kind of cool about our band: no matter what anyone pop – approachable enough to feel at home in those
second guitarist Ben Kinsela) had signed to Sony does or what instrument they play, everyone is a aforementioned stadiums, but still heavy enough
Music for the release of their second opus – no small part of the process and everyone has a say.” to reel in the more stubborn of rock aficionados. “I
feat for any old bar band from Melbourne. Diving The end result is an album that power-slams the think a lot of the way I find my sound is by doing a
into the months leading up to Mirrorland’s inception, listener with grandeur, riffs huge, vocals striking, lot of single-string stuff,” Barnes says, “Playing with
bassist Tristan Griffiths says a hiatus was escaped via and every last melodic second painstakingly down-tuned and really thick strings so everything is
relocation and some legit dedication to their art. perfected. It wouldn’t feel out of place in a stadium sort of crunchy, and then using stacked fuzzes and
“There were talks of breaking up,” he reveals. setting, which is intentional – “We’ve always wanted octave pedals and whatever else I need to get that
“A few of the members had some personal issues to be that sort of big, loud, goosebump-inducing extra bit of bottom-end.”
which took a toll on our output for a little while, but rock band,” chuckles lead guitarist Mark Barnes – As for the almighty axe itself, Barnes recorded
we were able to get our act together in the end. We and a solid amount of that amplified gravity comes all of Mirrorland – sans a few overdub pieces,
moved from Sydney to Melbourne and kind of just from the band’s re-tinkered approach to how played with an Ibanez Roadstar II and a Gibson Les
bunkered down in the rehearsal studio. We just kept guitars build their soundscapes. Paul Standard – on an American Standard Fender
writing and writing – we wrote well over a hundred “I’m in more of a position now where I can just Telecaster he ran into by way of fate.
tracks for this album – so it was a bit of a long haul own it all,” says an enthusiastic Barnes. “In the past “I think I just got really lucky with it,” he gushes
for us. It was so relieving to actually get into the – without talking shit on [Kinsela] – we couldn’t make of his prized possession. “It just sounds good. I
studio and start recording; it was kind of like a things overly complicated because he wouldn’t be bought it blind on eBay because I needed a guitar
reward after spending such a large amount of time able to nail the parts, and we couldn’t have these with a single coil pickup for when we were doing
on the writing process.” big, wild guitar lines because they don’t work with [Persona Non Grata] – I didn’t have a whole lot of
The stately breadth of their writing output can be another guitar behind them. But now that it’s just money, so when I saw this one going for $900, I
chalked up to a collective adamancy on teamwork. me, I’ve got such a bigger canvas to work with. went, ‘Alright, that’ll do. That’ll cover all of our
Going as far as to insist Australian Guitar interview “When I started writing with one guitar, my first bases.’ Most of our stuff is tuned down to B, and I
at least half of the band, Strangers do everything instinct was to make everything bigger – utilising think it’s just a good bit of wood for B; it resonates
together – and that, of course, means there’s no one those big chords with the lead notes incorporated – in all the right ways.”
| australianguitarmag.com.au
| 11
STILL ON TOP
FRIENDS AND FAMILY PREPARE TO CELEBRATE THE LEGACY OF ROCK GIANTS CREAM. BY PAUL SOUTHWELL
B
ritish power trio Cream’s ongoing legacy Did Eric Clapton mentor you on any aspects aspect of attack to these Cream songs because
has well outlived the band’s explosive, of that experience? they mean a lot to him. It’s great music to play, and
yet brief tenure, and will be celebrated by Not those aspects, but I used to hang out with I’m excited about his slightly edgy approach to the
their bloodlines with The Music Of Cream – a 50th Eric when I was starting to learn guitar – he music. I’m also looking forward to working with Glenn
anniversary tour. The core trio consists of singer and showed me some things, such as the opening riff because he has such an amazingly powerful voice.
guitarist Will Johns [Eric Clapton’s nephew and son to “Crossroads” which took some time to master. I
of the late audio engineer Andy Johns], singer and can remember going back to him after I got that bit Cream purists might expect you to use a
bassist Malcolm Bruce [son of Jack] and drummer down and asking, “What’s the next bit?” We all know 100-watt Marshall amplifier, Vox wah, fuzz
Kofi Baker [Son of Ginger], who will be joined by blues now that it’s the D7 chord change, but he didn’t pedal and a Gibson SG guitar with Clapton’s
guitarist Robben Rord and bassist Glenn Hughes give it to me outright. He said, “You’ve got to figure ‘woman tone’.
[Deep Purple’s Mark III line-up]. We spoke to Johns out that next bit on your own.” He wasn’t teaching [Laughs]. My main guitar is an Ernie Ball Music
about the impending tour. me so much as he was guiding me. My mum was Man EVH model, which was something my dad
also an influence by saying, “You’ll never learn gave to me when he working on Van Halen’s For
When did Cream become an important band that instrument,” so I guess something inside me Unlawful Carnal Knowledge album. It has two
for you as a musician? had to prove her wrong because I was going to be big humbuckers on the neck position to get close
I guess from when I started playing guitar at the dedicated to something. to that ‘woman tone’, but I don’t try to recreate
age of 15. One of the first CDs I had was The Cream Of that tone exactly because I feel like that wouldn’t
Eric Clapton, which had some Cream tunes that were Do the live recordings of Cream – and Eric’s be honest. But what I create is leaning towards
more full-on and meaty to my brain. nuances in that playing – inform your own that. I’d rather not use Marshall stacks, and on
playing substantially? the tour I might be using Mesa Boogies. I’m lucky
The legacy of Cream has a widespread impact I’ve always had the utmost respect for Eric’s enough to be endorsed by Mad Professor pedals
to this day. Would you say that the melodies playing, and was digging on what he was doing. It from Finland, and I use their Deep Blue delay for
and harmonies they came up with are the is impossible to try to recreate anyone’s playing, a larger and more psychedelic sound, apart from
defining aspects of that power trio? even though you can allude to parts of the musical the fuzz and the wah. I’ve then got the [Mooer
It’s a combination of the elements that those guys vocabulary. If you try to play all those licks and Ninety] Orange Phaser for the guitar break in
brought to the table, so it was the melodies, but also mimic that feel, you lose whatever you had going on “Badge”.
the drive and rhythmic aspects. Ginger [Baker, Cream in your own music.
drummer] was time itself, so all of these elements Given that your father and his brother
coming together made it as hard as diamond. For your tour setlist, do you favour referring separately produced and engineered some
to the live recordings of Cream songs over amazing albums that included Clapton, do
Would you say that the tensions between the studio versions? you think that hugely increased your
Ginger and Jack [Bruce, late Cream bassist] Cream used the songs as a starting point, and appreciation for Cream?
were somehow manifested musically? then somewhere within the song, the band would That’s a complicated question really, but for
Definitely. They had a thing of musical break off into improvisation. We play the songs with me growing up, Eric was my uncle, so he was
competitiveness which I have witnessed first-hand those same improvisational breaks, so the songs just a person. He used to take me fishing. Due
with Malcolm and Kofi, as they have that too. aren’t really the same every night except for the to family reasons, when I was young I was taken
They are so good at what they do that they have a recognisable structural parts. People tend to like away from the Los Angeles rock’n’roll studio scene
musical vocabulary; they make it fun to be a part how we do it, and we do it in an honest way instead and brought to England for a more sheltered
of this edgy rapport between them. They spark off of being a cheap copy. upbringing, which happened to include a lot of
each other. I’d like to think that I’ve also got some weekends down in the country with Patty and
sort of spark, but those two had it handed down Presumably, that improvisational freedom Eric. I only got musical about it much, much
from their fathers. It’s quite a crazy thing to watch, would lend itself to better integrating Glenn later. In a nutshell, it was only later in life that I
and it definitely adds something to the mix – both Hughes and Robben Ford into the show? really understood how much these guys worked
creatively and in the sound. Yes, Robben plays a Telecaster and brings an together.
12 | FEATURE
THE GHOST
INSIDE
WITH ONLY A SHOESTRING BUDGET AND A HEAD FULL OF
DREAMS, MELBOURNE SONGSMITH LUKE YEOWARD
ADVENTURED THROUGH THE USA TO LAY DOWN HIS
SOUL-SEARCHING SOLO DEBUT. YEOWARD WALKS US THROUGH
THE JOURNEY THAT LED TO HIS DEFINITIVE WORK.
WORDS BY MATT DORIA. PHOTO BY MATHEW COYTE.
A
fter the demise of major label rock consistent along Yeoward’s travels was
outfit King Cannons, frontman Luke the decision to record in methods as raw
Yeoward was burnt out, stung by and unpolished as possible. Between takes
the industry and looked to the mainstream with a mile-long list of collaborators, he
rock sector with a sour eye. Blue collar jobs would retreat to a garage studio manned by
would then consume the Melbourne singer- punk-turned-reggae legend J. Bonner (The
songwriter, but after dipping his toes back in Aggrolites), where the pair tracked the LP on
with small-time punk band the 131’s, Yeoward exclusively analogue equipment.
decided it was time to leave the past behind “Recording in that fashion, with that gear
him and embark on his most ambitious project and with those old school vibes… I’ve always
yet: a solo album. loved that kind of stuff,” he says. “Those were
“I feel like it’s something I should have the records that I used to listen to, and that’s
done a long time ago,” he says, “But the stars the concept that I resonate with the most – the
hadn’t quite aligned in my mind yet. I felt like idea of everybody playing together and having
I needed a flexible template that enabled me limitations on what you can do, forcing you
to still make music, but also pay the bills and to make decisions and stick to them, y’know,
hang out with my family. Venturing out and as opposed to recording in the digital realm
making a solo album enables me that flexibility where you’ve got 50,000 f***ing bells and
because I can kind of do whatever I want, whistles to choose from. It was like, ‘We’ve got
y’know? I’m not worrying about the schedules eight tracks and we’re going to put the drums
of four other people.” on two, all of the percussion on one, and the
As cohesive as Ghosts plays on wax, Yeoward guitars and the hand claps on the other one.’
refused to lay down any solid plans for the It’s all very simple, and it shows.”
album, instead embracing his own fluctuating In its short 11 tracks, Ghosts dives into a
bursts of creativity and allowing it to floruish lifetime of musical inspiration and exploration.
one song at a time as he traversed the USA. From the smoky reggae hue of “Half Way” to
“Most songs tend to appear out of the bright rockabilly edge on “Who Can Save
nowhere,” he muses. “You could be doing Us Now?”, Yeoward taps into every weird and
anything – mowing the lawn, brushing your wonderful corner of his artistry.
teeth, or just sitting around one Sunday “I think it comes from years of absorbing
afternoon and messing around with the lots of different styles of music, and not just
guitar – but I’d never deliberately set out to listening to it but thinking about what you can
make a record like this before. It’s a pretty learn and take from it,” he explains. “Whether
f***ing crazy thing to do, because everywhere you’re making a country song, a reggae song
you go, you start all over again with a blank or a rocksteady tune, you take all of your past
piece of paper. You start with nothing on tape intellect and channel that into something that
and all of a sudden, you’ve made something. incorporates everything. It’s a really simple
That’s absolutely mental. And putting yourself analogy, but I don’t like having too many things
in different environments makes you feel on the pizza, y’know? Everyone knows that a
different things. The weather, the smells, the good pizza is a pizza with minimal ingredients,
sounds, the conversations – all of that stuff is and the trick is to have a few different pizzas
really important for songwriting, I think. instead of just one with everything on it.”
“I knew it was going to be a mashup of Still, Yeoward wanted Ghosts to stand on its
vibes, but I didn’t really have any initial own amongst his other projects. “When I’m in
ideas of what I wanted this album to be,” he 131s mode, I’m transported back to 16-year-
continues. “It’s one of those things where I old me with a f***ing foot-high mohawk and a
kind of just wanted to let the magic unfold in leather jacket,” he laughs. “I’m in that kind of
whatever serendipitous sort of way that it’s ‘shit’s gonna get gnarly’ headspace, y’know?
meant to. I guess for some people that’s quite And then what I do with my solo stuff is
risky, but I always have faith in the process.” everything else. It’s good to have a couple of
Perhaps the only thing that remained outlets like that.”
| australianguitarmag.com.au
14 | FEATURE
BRITISH TROUBADOUR LEWIS WATSON RETURNS WITH MIDNIGHT, HIS SECOND ALBUM, AND ONE
WHICH TAKES A MUCH MORE IMMEDIATE APPROACH THAN HIS FIRST. BY PETER HODGSON
T
here seems to be two schools of thought for something I definitely wanted to do. The first Do you have any particular favourites?
recording, and they’ve been coexisting for record was done over a period of years, so it was Yes! I’ve got a custom acoustic from the UK by
as long as multitrack recording has existed: very interesting to live in that bubble for just two a guy named Patrick James Eggle. He came to
one is to use the studio as a tool – a creative and a half weeks instead. And I think it’s a better one of my shows in Cardiff and said, “I’d really
medium through which to sculpt and fine-tune record for that. like to make you a guitar – is that okay?” I said it
a song until it reveals more about itself than it would be an honour. So we had these meetings…
otherwise would – and the other is to capture the So being a guitar magazine, we always like It’s a mahogany body with a rosewood neck, no
moment as honestly as possible. But it seems like to ask: What does the guitar mean to you? inlays, a really simple body, dovetail joint at the
more and more artists are choosing the latter at The guitar is something that growing up, I’d headstock… It’s just a beautifully made guitar. It’s
the moment, despite the unprecedented choices put on this pedestal: I’d always put off learning a bit smaller than a conventional acoustic body –
of the former. Lewis Watson has elected to it because I was intimidated by it; I thought I’d it’s like a 00 Martin size, and it’s just a beautiful
record as honestly as possible for his new album, never be good enough at it. When I was 16, I got guitar. The mids and lows are just insane. It’s got
midnight, out now through Cooking Vinyl. an acoustic guitar and thought, “I’ll try and learn an LR Baggs system in it. I’ve also got a Martin
it but this won’t go very well.” But whenever I OO-15M which is another mahogany guitar. It’s
So you recorded the album with a live band. picked it up, it was like I was in another world. fairly similar and is my day-to-day guitar when
Yes! It’s something that I’ve really wanted to I’d never played a musical instrument before I I’m not at home. When I’m at home, in the studio
do. This is a great band, and I really wanted to was 16, so it was like finding a brand new way or on tour in the UK, I’ll use the Eggle, but
see what would happen after you dictate a song to express myself. My mates were going out otherwise the Martin comes with me. I just prefer
to them and then let them do their thing. It’s and doing whatever they wanted to do, but this mahogany acoustic guitars – although I do have
something that I think really enhanced not only was something for me to do which stimulated electric guitars too.
the recording process, but the songs themselves me mentally and emotionally. It was quite a big
as well. It’s helped them to come out a bit more escape when I was younger, and I think it’s quite Are you much of a collector?
and give them more life. important to have that kind of constant. I think There was certainly a point where I wanted
the guitar has been a big part of shaping who I one of everything. It was something I started
What were the logistics of recording with am. Nowadays, it’s my best friend. It never leaves doing very early on and I realised I just had to
this method? my side, and wherever I am, I’ve always got it. stop! The way I look at it is, will I ever need to use
We did it in two-and-a-half weeks in a ‘stay-in’ I buy really expensive cases so that wherever I that guitar? Can I make the sound I’m buying the
studio in Warwickshire. I knew the chapters of go, airports don’t break them, and I just get to guitar for with another guitar and pedal setup?
the album and how I wanted them to sound from strum them and play songs I’ve written, songs I’m I’m more likely to buy pedals than anything
the demos, and we had played them literally writing, tunes I love... I just love it. To be able to else now, because I love that your sound can
hundreds of times. It was a lot of fun and call it my career and my job is just great. completely change with the tap of a foot.
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16 | FEATURE
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| 17
Y
eah, I’ve heard of them. I think I saw them phone in “Bullet” and that huge siren sound that a classic, super fat and chunky punch in the face. I
once…” That’s not something that’ll ever be comes out of nowhere at the end of “Know Your flick between the two all the time and neither setting
said by somebody who has witnessed the Enemy”. I love that stuff! encroaches on Keven’s sound, so it’s all good.
pure rock fury of Canberra’s colourful punk quartet I hate that when you look in a guitar shop window,
Glitoris. They’re a band with a message, who know You’ve teamed up with Vance Guitars for there’s always Strats, Teles, Les Pauls and SGs,
how to command an audience’s attention on both a signature model – how did that and then in the corner, there’s always a baby pink
a visual and a sonic level. Their level of six-string relationship develop? heart-shaped or flower-shaped guitar with shitty
mastery has brought instrument makers to their It’s been amazing. Late last year, Glitoris toured strings on it made by thisonesforgirls.com – it’s the
door and punters to the front row, as guitarist and The Disgrace EP, and after we flew from Melbourne most patronising and infuriating thing, because it
vocalist “Andrew” explains. to Sydney, I took my guitar – a Fender Bullet – out unnecessarily genders instruments and epitomises
of the case and the pickup switch was completely everything that’s wrong with the music industry. Fuck
Fill us in on the background of the band – how bust. I thought, “F***, is this even going to play?” I that. What’s needed is a “girls guitar” amnesty. Keven
did you form, what was the message you didn’t have a spare guitar, either. It played fine, but and I would invite any girls who own one of these
wanted to share, and how has it transformed as soon as I got home, I took it to Rusty Vance to be monstrosities to a music store, where we’d gladly
since its inception? fixed. He was interested in the guitar and the band; exchange them for Glitterbombs. Then we’ll chuck all
The band was originally a three-piece with Keven he came to see us live and it all went from there. the pastel heart and flower guitars on a bonfire and
007, Tony and Malcolm. Glitoris was conceived as He wanted to make a guitar for me and I said, “How burn them all in a prop-burning ceremony.
a one-off band for a one-off performance, but the about we call it The Glitterbomb?” I wanted it to be a
show sold out and there was demand for them to powerful and explosive guitar that captured my own Can you run us through your current rig
keep going. After a few months, they approached sound as well as the overall aesthetic of Glitoris. It’s (guitar/pedals/amps) and which items are the
me to play the guitar. Tony always wanted a band a very humbling experience, having an instrument most precious to your sound?
called Glitoris, and was outraged by the treatment designed and made especially for you and your I play the Glitterbomb through a bunch of pedals.
of Julia Gillard and misogyny in politics. Glitoris has sound. We worked on it for about three months. Currently, that’s a DigiTech Whammy and Jim Dunlop
a manifesto, which is published in The Disgrace EP There’s so much attention to detail in everything – CryBaby Wah – and a Boss DS1, which I really think
and on our Facebook page. It’s all there. The message the headstock, the switches, the sharp neck cutoff at is the best distortion out there. I’ve also got a Boss
is very simple – it’s about equality for women and the neck pickup (which was deliberate), the glow-in- Fuzz FZ-5, which I love breaking out for the trashier
non-binary persons, for those identifying as LGBTQI, the-dark inserts – those are the best! I know it was stuff in our set. Then I’ve got a Crowther Audio
for people of any race and for everyone. And that really tricky to get the Glitoris symbol into the fifth Hotcake and Harmonic Generator. I’m from London
comes in all guises, whether it’s equality at work, in fret, but Rusty did it somehow. I mean, how good originally, and loved The Datsuns – especially that
the music business, in pay, in household chores... We is it to have a glowing Glitoris on your fifth fret!? song (“Harmonic Generator”). Then, when I moved
take both a local and a global attitude towards it – we Who wouldn’t want that!? It’s been brilliant to work to Australia four years ago, I realised the entire song
do our best to raise awareness about the plight of with Rusty. He’s made an exceptional guitar and I’m is about that one pedal – how good is that!? I had
women and girls in other parts of the world where deeply humbled that he made it for me. to have it. Both those Crowthers are all over The
the fight is to be educated; to give birth safely; to Disgrace EP and I use them throughout the set. Then
not be married off at aged 12; to keep your clitoris. I have a Boss Digital Delay, which I break out for the
We are basically here to challenge the patriarchy What were the most important factors when it rockabilly stuff and a couple of solos.
and hold up a mirror to inequality. Basically, we’re came to the design, and what type of players The most precious item in my rig – aside from the
messengers. Our fanbase, The Gliterati, is like an do you think will most benefit from getting Glitterbomb – is my Marshall DSL JCM 2000, and I
army. We’re here to represent them and we’ll be here their hands on one of these? have a Marshall cab with four Greenback Celestions
for as long as they want us. The most important factor was the neck. It had to in it. It’s a monster; an absolute demon. I wouldn’t be
be absolutely spot on in feel, in length, in frets – in without it on stage.
Who inspired you to pick up the guitar, and everything. There are so many guitars that I’ve tried
who continues to inspire you? to play over the years and struggled with, purely What can punters expect from a live Glitoris
All of the stuff my dad listened to inspired me to because I can’t get my fingers round the board, so performance?
play guitar – the blues, Chuck Berry, Muddy Waters, the neck had to be perfect. The next most important Glitter, loud guitars and guitar duels, swearing,
BB King. Then all of the usual classic rock stuff: we’re thing was the weight. A Glitoris show is very high- drum solos, superhero outfits and makeup, four-
big Queen fans and Brian May is such an incredible, energy and my stage persona, ‘Andrew’, is pretty part vocal harmonies, classic rock homages, and of
unique guitarist. I couldn’t not be inspired by him. maniacal and the guitar gets swung around a lot, so course, punk mayhem. It’s political, it’s punk and it’s
Steve Jones from the Sex Pistols is just the ultimate it had to be light. Then it came down to the pickups. show business.
punk guitarist, too, and I love his sound. Poison Ivy The guitars in Glitoris are well balanced – Keven plays
from The Cramps – I never get bored listening to her a Gibson Nighthawk through a Fender Reverb and Any key advice for young female guitarists
sound. She’s got a unique guitar tone and her stage her sound is a very rich, lower mid-range heavy and getting their careers as musicians started in
presence was electric. And Crispin Gray from Queen sort of a voluptuous, full-bodied sound. My sound 2017? Also, is there anything you’d like say to
Adreena is one of my all time favourites – he had a is the opposite – very sharp and full of upper-mids young men starting bands in 2017?
massive, yet very sharp sound and a huge distortion, designed to cut through with an abrasive and very My advice to female guitarists is not to
and he was a classic example of someone who always gritty, irritating sound. It’s not at all pretty; it’s compromise on your playing, on your sound or on
knew when not to play, so when he did, it always actually a very harsh guitar sound by design. But with anything. Be the player you want to be and don’t be
sounded like a bomb going off. my Fender Bullet, there was always a danger of it talked into doing anything a certain way unless it
People pick my guitar heroes straight away when slipping into a brittleness because of the two single suits you. And you don’t necessarily need a female
I play – I wear all these influences very much on coils, so that had to be different on the Glitterbomb role model in order to play any instrument. Which
my sleeve – so yeah, definitely guitarists like Tom – I needed way more power! So the Glitterbomb guitarists do you like? Listen to them and learn.
Morello, who redefined guitar sounds in the ‘90s has the Bareknuckles Painkiller humbucker on the To young men – how about being in a band with
– the press have compared Glitoris’ sound to Rage bridge, which sounds as nasty as you’d expect, and a girls? Never assume women don’t know about their
Against The Machine on a number of occasions. I just DiMarzio DP184 Chopper on the neck. I love both. The instruments. And when you perform, put a bill
love everything about his sound – the strength in Painkiller is nice and bright, crunchy, and retains the together that involves a wider cross-section of our
his riffs, the power of it, the effects like the cellular abrasiveness but with more guts. The chopper is just musical society than just your male mates.
18 | FEATURE
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R
arely does a band like Polish Club
were later scrapped and the album was
– and even more rarely does an then I usually find that happy medium
finished in Leichhardt), Rob [Cavallo,
album like their debut, Alright by the end of it. Over time we’ve kind
almost-producer] had a truckload of of
Already – make their and its way to the gear gotten to a place where we’re at, for
and one of his guitars was a BB King lack
public eye. The duo rose seemingly from of a better term, autopilot. That’s not
Lucille, which is like the ‘fancy pants’ to
nowhere via relentless touring (and say we’re not present and trying reall
a version of my guitar – I tried it, it suck y
meme-heavy social media presence) ed, hard, but we can do all of the physical
over and I ended up just using my own guita
a calamitous 2016, their spirited alloy r. stuff without feeling like it’s a total
of There’s something about it that I’m just
slick ‘50s Motown blues and blistering battle. And I think that’s just a matter
comfortable with. It’s not super smoo of
underground punk earning them a th having done it repeatedly over time.
and it’s not super easy to play with, It’s
coveted spot at the top of the food chain but a f***ing struggle, man. It’s so much fun,
. I feel like I’m just f***in’ belting it out
Anyone that’s witnessed one of their but like, I’m not playing up the whol
when I play it. e
loose and livid live shows can agree wank of, ‘Ugh, we, like, love to swea
that “The one quote about guitars I’ll t, and
it’s not in the slightest undeserved, it’s, like, really raw shit, ugh!’ No, I’m
but always remember is from Jack White, just
given their niche sound and commerc super unfit [points to cigarette and
ial who said, ‘If you don’t feel like you’r then
abeyance, it is just a tad surprising. e in takes another drag] and it’s a real f***i
a constant battle when you’re playing ng
“I’ve always told people that we’re tightrope that we’re walking up there
the guitar, you’re not doing it right.’ .I
completely irrelevant in the music we And might pass out, and John might vom
I’m like, ‘F*** yeah!’ If I don’t feel like it…
play,” says a blasé David Novak (guit Which has happened before.”
ar/ my hands are about to fall off, or like
vocals) between drags of his cigarette. I’m Alas, that one is another story for
going at 100 percent – even though
“Think about the average person who I’m another day.
just playing A, and then E, and then
listens to music on their commute hom A in
e every single song – it just doesn’t feel…
– they’re not listening to guitar-based I
can’t buy into it. I can’t sell the song
music. And that’s fine! I’m not bemoani .”
ng At the time of publication, Polish
that; it’s all cyclical, y’know? We’re seein
g Club are in the midst of their biggest
DMA’s and Violent Soho doing songs
national touring stint yet, with dozens
that sound tinged with ‘90s vibes, and of
gigs lined up around the corner as well.
before that there were bands like The
Alright Already is an album designed
Strokes and Interpol pulling elements
undividedly for the stage, but in spite
of rock music from 20, 30 years ago.
It of that, Novak says the shows are only
was always going to come back arou
nd easier now because of their previousl
at some point, and by virtue of what y
hectic schedules.
we do well, we’ve come across a kind
of “If I plotted it out on a
rock that is very soul- and blues-based.
graph,” he says, “I start
I think we’re actually lucky that no-o
ne’s way too hard, and
really listening to that much guitar mus
ic then the slow
anymore – because of that, we stand
out. jams kick in
We are so far from reinventing the whee
l and I’m able
that it’s ridiculous, but because we do
it to catch my
with conviction, people seem to like
it.” breath, and
Their setup is one of primal simplicity
:
drummer John-Henery laying waste
to skin and cymbal on one side, and
Novak yelling sweet nothings with swea
t
pouring down his face from behind a
weathered Epiphone Sheraton on the
other. No more, no less, and with a
large amount of focus always set on
that goddamn beautiful Sheraton. The
pitch black beauty has stuck with our
protagonist from day one, found its
way
onto every cut on Alright Already and
has, somehow, survived hundreds of
!
those infamously barbarous live sets.
r t y
On the reason for his undying love
Pa
of it, Novak cites the holy trinity of
guitar characteristics: “It was cheap,
it’s black, and it sounds good. It’s
got a cheap and muddy texture, too,
which I love. When we were in LA to
record the album (note: the LA sess
ions
20 | FEATURE
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| 21
THE BEST
MARK SEYMOUR AND THE UNDERTOW RECAST
CLASSICS AND FUTURE CLASSICS IN AN INNOVATIVE
NEW LIVE RECORD. BY PETER HODGSON
W
hat do you do when you have a rock’n’roll Hunters catalog that hadn’t had that acoustic gestation.
legacy within a band – a very respectable So for The Undertow to come in around that material has
one – but you also want to honour your own been a great evolution. And the more solo records I’ve
musical evolution and where you’re at now? If you’re made, the more active we’ve become on tour and the
Mark Seymour, you take your band The Undertow into better that old material has ended up sounding. It’s worked
Melbourne’s legendary Bakehouse Studios and record live out so well in so many ways.”
to a small audience over three nights, pulling together a The decision to record at Bakehouse with an audience
record that captures your Hunters & Collectors material present was as much a practical as a creative one. It wasn’t
and later solo tracks, and recasts them in the voice of the just about the extra layer of energy projected onto a band
current touring unit. And you call it Roll Back The Stone, when you involve a crowd. “I think the main reason for
and you take it on a national tour. doing that was that it stops the band from wandering off to
“The notion of doing a best-of collection had been get a cup of tea,” Seymour laughs. “If they weren’t forced
around for a few years, but there wasn’t really any way of to stay in there and perform, we could have mic’d that
bringing it into focus,” Seymour says. “I’ve made so many room up exactly as we had and still come up with a decent
different records on so many different platforms, it would recording, but it would have taken a lot longer because
have been dragging together a whole lot of recordings musicians have a tendency to go off to the urn, or to
from different eras that really would have sounded noodle, or to tell jokes. So that was just a way of forcing us
dramatically different. That’s normally what happens to stay on message. We still ended up having little breaks
with best-ofs. But the happy coincidence is that this band every six songs or so, and it was really hard work. And
has really come into its own in the last few years, and my punters were just coming in and standing around and we
exposure around Australia has really
picked up – it’s developed a real force
of its own. So we decided to combine
those two ideas. It’s pretty much my
live set, and it just developed out of
that. Even my own stuff that’s quite
recent has changed radically since we
made those records, because we jam
a lot onstage during gigs. You develop
all of these extensions and sort of get
all ‘70s about everything!”
When Seymour initially struck out
on his own, he was performing in a
solo acoustic format. “I had to learn
how to play those songs. I didn’t
go out and try to play Hunters &
Collectors. The majority of people who
were into H&C didn’t seem to want to
accept the idea of that guy not being
in front of Hunters & Collectors. So
I had to go, ‘Right, what have I got
here?’ I just started playing songs
pretty much as I’d written them. I
didn’t try to do anything from the
22 | FEATURE
“I MAINLY WRITE
ON A MATON
808, BECAUSE
IT’S A NICE SIZE
AND I CAN WRAP
MYSELF AROUND
IT AND PUT MY
EAR ON THE
WOOD TO SING.”
| australianguitarmag.com.au
| 23
were like, ‘Hi. We’re actually gonna play now…’ It was really
quite funny! I loved it.”
This being Australian Guitar, we would be remiss if we
didn’t talk about the coolest instrument in the world, and
what it means to Mark Seymour. “The guitar is my writing
tool. It’s really important. Writing on acoustic guitar is
really critical, and I’ve constantly got one near me. I’ve
got a few,” he laughs, clearly picturing a house full of
instruments. “I’ve flogged a few too! But I mainly write
on a Maton 808, because it’s a nice size and I can wrap
myself around it and put my ear on the wood to sing. Tone
is really important to me. All of that changes when you go
onstage, but in terms of accessing emotion, that’s really
critical to me. For electrics I’ve got a ’71 Telecaster, which
is the first Tele I ever bought. I’ve had numerous guitars
stolen, but that one Tele has never left me. There was
one time when some kid got onstage and took it and we
grabbed it back off him. So I’ve always managed to hang
onto that one. But there’s this amazing guitar shop, Sky
Music, and I wanted to get a backup for my Tele. I wanted underestimate it. My old white Telecaster is pretty heavy,
to really spoil myself when Hunters & Collectors did that and trying to find one like that took a long time.
reunion tour last year, so I got this sunburst Telecaster “I remember I discovered the world of guitar collecting
Custom and I got it set up just like the white one and after one of my guitars was stolen, and that was the first
added some Seymour Duncan pickups.” time I saw the connection between price and originality,”
“The thing about Teles is, I can hit them,” Seymour he continues. “Some of the guitars I played were really bad,
continues. “The thing with humbucker guitars is that you and they were worth thousands of dollars! I just think that
have to have a more delicate touch, I think, because they’ve if you can keep guitars in pristine condition, as long as they
got so much scale. I’ve got a Gibson ES-335, and it just gets sound good that’s all that matters. I have tone clear in my
very difficult to play a 335 and sing loud because I push mind when I’m writing. Things change so dramatically when
so much air that my hands start to clench and there’s no you’re onstage, and I treat that as a whole separate set of
delicacy in it. A Tele is much more robust, whereas with a parameters that I have to grapple with as I’m working. As
humbucker, the chord can get really big. That has its place, a performer, the thing you need to focus on is what your
but because I sing so hard, I need to keep my rhythm like a body is physically doing: what are the knowables? But the
clock. The funny thing with Teles, too, is they vary in weight acoustics I’ve got that I really like – even when they’ve got
so much. Timber is really important and I think people the feedback buster in them, they still sound good.”
24 | FEATURE
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| 25
Shi f t i n g
GEARS
WHEN IT COMES TO DONNING A COWBOY HAT AND
A SIX-STRING, THIS AIN’T CHRIS SHIFLETT’S
FIRST RODEO. BY EMILY SWANSON
T
here are few musicians whose and Roy Nichols who played with
careers can be neatly summed Merle Haggard,” and just how deeply
up by a Donny and Marie entrenched his hometown was in the
Osmond song, and significantly fewer genre’s ’50s roots.
would be able to claim a day job Following the release of 2013’s All
shredding up festival stages as part Hat And No Cattle, a sort of honky-
of rock juggernaut the Foo Fighters. tonk covers collection that paid
But Chris Shiflett is indeed a little bit homage to the Bakersfield biggies
country and a little bit rock‘n’roll, and (Merle Haggard, Buck Owens),
he doesn’t give a damn who knows it. Shiflett has returned to his solo side
Growing up in California in the project – sans Dead Peasants – to
’70s and ’80s, Shiflett had a front breathe new life into a well-worn
row seat as the music world ushered genre. On West Coast Town, the
in the dawn of the guitar hero. Ace guitarist swirls together hints of
Frehley, Jimmy Page, Randy Rhoads, Haggard And Owens, of the Stones
Joe Perry… Tucked away with his and Social Distortion – foot-tapping
brothers’ records, Shiflett had reason numbers channelling the working
to worship them all. It wouldn’t be class spirit of his former idols. We
until a while later that he’d come caught up with Shiflett to hear about
to appreciate country music’s rich his Nashville-produced record,
tradition of incredible pickers, “Guys stepping into the role of frontman,
like Don Rich from the Buckaroos and the Gibson that got away.
26 | FEATURE
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| 27
You’ve said it was the guitars that When it comes time to go out
initially drew you to country and tour these songs, how
music, but is it something of a seamlessly do you slip into the
natural progression given your role of frontman?
Californian roots? It gets more comfortable all the time.
It’s interesting because although I was so uncomfortable with it when I
that is true, [the country scene] was started doing Jackson United stuff – I
not something I was aware of at the was just absolutely terrified. Terrified
time. And especially by the time I was of the sound of my voice coming over
a little older and was going to shows a loud PA… Oh God, it was so horrible
as a teenager, a lot of those old honky [laughs]. But over time, I’ve done a lot
tonks were still around – I went to see of acoustic solo shows because I knew
them, but I also went to go see rock that if I could get comfortable playing
and punk bands at places like The in that dynamic, then going out and
Palomino and all of those cool old playing songs with the whole band
clubs. I didn’t really understand the would be a lot more comfortable. And
history of it because I wasn’t aware of it has been. I love it now. I’ve got a big
it, but I guess somehow it just seeps in. group of guys that I’ve put together to
It really was a huge part of the culture go and do some shows with me, so
here; even if you don’t realise you’re we’ll see what happens.
being exposed to something, you are.
How’s your guitar rig shaping up
Your latest solo effort, West Coast these days?
Town, was released last month. Did For my solo stuff, I’ve been playing
you find yourself pulling these songs this ’63 Fender Esquire through a Vox
together over a number of years? AC30 that has reverb on it. I love it. It’s
I had a lot of little song fragments a great sounding amp and it’s great for
and song ideas kicking around for a the country stuff because it’s got reverb
while, especially since the last Dead on it, so I can get a little bit of that
Peasants record I made was all covers. lonesome twang goin’, and then I have
But like most people that write music, a ’68 Gibson Non-Reverse Firebird that
I’m pretty undisciplined about it. Until I’ve been playing a lot too. That’s what
I knew I had a recording date, I just I’m going to bring out for these shows.
wasn’t pushing myself to finish stuff. I have a bunch of little pedals; I tend to
When I booked the time, I went into a switch ’em out here and there. I think I
writing frenzy and wrote every single have a Small Stone on there, and I have
day, all day long, Monday to Friday. I an EP Boost that I can’t do anything
finished the ideas that I had and wrote without – it’s, like, the best pedal ever
a whole bunch more, and that’s where made. I use some different overdrives
most of the stuff came from – those here and there: I’ve been using the
few months leading up to going out to Seymour Duncan 805 pedal a bunch.
Nashville to record. I really am deeply I’ve also got one of those Strymon
proud of it; for me and for my solo blueSky reverbs on my pedalboard, but
stuff, it’s head and shoulders above that’s pretty much most of it.
any record I’ve ever made.
The last time you were in Nashville
You got to work with producer with the Foo Fighters, you
Dave Cobb on this one – someone stumbled upon Zac Brown’s
you’ve been a fan of for a while enviable collection of gear. What
now – and in Nashville, no less. are some of the latest additions to
Could you talk us through what he your own collection?
brought to the table? It’s funny, I’ve been playing my ’68
He brought so much; he was really Non-Reverse Firebird so much lately
amazing to work with. I’ve never that I thought I should buy another
worked with a producer on my solo one so I have a couple of them for
stuff so I knew that I needed to make when we tour. I found this cherry red
a great record. I’m just such a fan ’68 – it was the exact same guitar, but
of his work that, when I met him it was like candy apple red – it was so
and interviewed him for my podcast amazing. It was on reverb.com, or one
[Walking The Floor], I knew from that of those websites, and I didn’t bid on it
point on that I had to work with him. in time and somebody else bought it.
I called him out of the blue and asked It just crushed me. That’s the one that
him, and luckily the stars aligned and got away. Every now and then I look
it worked out. His arrangement ideas… online… “Nope, hasn’t turned up yet.
He changed the songs – all of them, a One of these days…” The ’63 Esquire
lot – and made them all way stronger that I’ve been playing, I actually bought
and better. I think it’s kind of ironic off Dave Cobb. It was his guitar, and
that I went to Nashville and made a I played it a ton on my record, and
record that sounds like California, but I then about a week after I got home,
just wanted to go and work with Dave. he called me and was like, “Hey man,
That’s where he is, so that’s where we I’ve been looking at this Les Paul that I
had to make the record. It was good wanna buy, but I need to sell a couple
for me to get out of town and just not of guitars to do it. Do you wanna buy
have any distractions. that ’63 Esquire?” I was like, “Sold!”
28 | FEATURE
SURPRISE,
MESMERISE
NORTHLANE BRING BACK THE RIFF AND CHASE THE
PERFECT TAKE ON THEIR SURPRISE NEW ALBUM,
MESMER. INTERVIEW BY LACHLAN MARKS
| australianguitarmag.com.au
| 29
30 | FEATURE
O
ut of nowhere on a sleepy
Friday in March 2017, a hunk
of smoldering prog-rock-
infused metalcore fell from the sky
and alarm bells rang out across the
internet: Sydney’s heavy hitters had
released a new album called Mesmer,
and you could stream it right away.
Commuters went bananas, bloggers
struggled to pound out reviews in
record time, and the fans basked
in yet another album riddled with
the most thundering of thundering
guitars known to mankind at this
point on the timeline.
“We’re able to spend time crafting
the music we want to hear with the
benefit of not having to leave the
studio early to go and work a job,” the
band said in a statement. “To an artist
these are real luxuries. We appreciate
them more than anything and we’re
in the position of being able to do this
because of you – our incredible fans
who continue to support us. You free
us to be the artists we want to be.”
Those artists include Northlane’s
dual axemen, Josh Smith and Jon
Deiley, who pushed harder than
ever to lift their songwriting craft to
match the high standards set by the
album’s super producer, US-based
David Bendeth (Paramore, Papa
Roach... Elvis Presley).
Y O U C A N H E A R L I T T L E B I T S H E R E A N D T H E R E T H AT
ARE OUT OF TUNE, AND THE INSTRUMENTS AREN’T
QUANTISED AND OVER-EDITED AS IS THE NORM
T H E S E D AY S . ” – J O S H S M I T H
| australianguitarmag.com.au
| 31
| australianguitarmag.com.au
THE NEW ALBUM
Featuring ‘Birthmarks’, ‘Fear Of Nothing’,
‘Mirrorland’ & ‘God Is In My Head’
OUT NOW
| australianguitarmag.com.au
| 35
HAIL!
HAIL!
ROCK
’N’
MANY PEOPLE CLAIM
TO HAVE INVENTED
ROCK’N’ROLL.
ROLL
CHUCK BERRY
IS ONE OF THE
FEW WHO HAVE A
LEGITIMATE CLAIM.
ANDREW P
STREET FAREWELLS
A LEGEND.
36 | COVER STORY
B
erry was born in St. Louis on combination, making the performers
October 18th 1926; the fourth palatable to white audiences –
of six children to Henry and though it helped that Berry was
Martha Bell Berry. Despite the era, his also perfecting his showmanship,
family was solidly middle class: Henry including his signature ‘duck walk’.
was a Baptist deacon and contractor In fact, it was country music –
and Martha was a school principal, specifically the traditional barnburner
which meant they could indulge their “Ida Red” – that was to make Berry’s
precocious son’s love of music. career, and to create the melding of
And Berry was an early talent – he traditional blues and country music
gave his first public performance that was to mutate into what we
in 1941 at the age of fourteen – recognise today as rock’n’roll.
but ended up in the Intermediate While in Chicago, Berry met
Reformatory for Young Men at Algoa Muddy Waters, who suggested that
four years later after stealing a car at Leonard Chess might be interested
gunpoint (see the Controversy sidebar in potentially making a record
for details), where he stayed until he with them for his RnB label Chess
was released on his 21st birthday. Records. The timing was perfect:
Even during this period he was Chess was looking to expand beyond
working on his music, though, forming the shrinking market for the blues
a vocal quartet that did occasional and thought that Berry might be
gigs outside the reformatory. the crossover artist he needed,
Just after his 22nd birthday, he specifically with the version of “Ida
married Themetta Suggs (a.k.a. Red” he and Johnson had been
Toddy), the woman to whom he playing, for which Berry had written
would remain married for his entire new lyrics and renamed “Maybelline”.
life. They had the first of their four And Chess was right: “Maybelline”
children, Darlin Ingrid, in 1950, and sold over a million copies upon its
she was followed by Aloha, Charles release in 1956, making Berry the first
Berry Jr. and Melody Exes in the mainstream African-American music
following years. In order to support star. For all intents and purposes, this
his family, Chuck worked in an auto is where rock’n’roll began.
assembly plant, did janitorial duties The star kept shooting from
in their apartment building, and there. White stars like Carl Perkins
trained as a beautician. And, just for endorsed him, and he toured with
a little extra pocket money, he sat in the likes of Buddy Holly and the
with local bands and reeled off the Everly Brothers. His success soon
blues guitar style he’d aped from his eclipsed theirs, though, with a run
hero, T-Bone Walker. of hits: over a dozen songs charted
By 1953, he was building up a between 1957 and ‘59, including
nice local reputation in St. Louis, “Rock And Roll Music”, “Sweet
thanks to his increasingly frequent Little Sixteen”, “School Days” and
collaboration with pianist Johnnie his signature song, “Johnny B.
Johnson and his trio. Johnston’s solid Goode”. He also started appearing
RnB roots and Berry’s unexpected in films, giving him an incredible
love of country music proved a potent reach to audiences that would
| australianguitarmag.com.au
| 37
38 | COVER STORY
THE
otherwise never have seen him in the flesh
– including 1959’s Go Johnny Go, named
after a line in “Johnny B. Goode”.
He was doing well financially, too: while
CONTR
blues artists were being ripped off blind by
unscrupulous labels and agencies, Berry
demanded cash upfront before going on
OVER
stage (a characteristic which he was to
maintain throughout his career) and was
making canny investments in real estate
before opening St. Louis’ Berry’s Club
SIES!
Bandstand – whose racially integrated
policies for guests and performers alike
was a bold refutation of the segregation
still prevalent in the US at the time.
Racism was alive and well, though,
and Berry’s relationship with the law Berry had more than his fair
was to become even more fraught. There share of brushes with the law. At
was a hint of what was to come in 1959 age 18, he was imprisoned at a
when he returned a kiss from a white fan reformatory for three years after
at a gig in Meridian, Mississippi. It was three counts of armed robbery and
an innocent enough act, but one which stealing a car at gunpoint (which
so incensed the fan’s brother that he
Berry has subsequently insisted was
started shouting racial epithets at Berry,
actually him flagging a car down
beginning a fight which grew into a riot.
Berry was whisked away by police, who whilst holding an unloaded pistol –
then abruptly arrested and charged the as one does from time to time).
performer – not the furious brother – with In 1959, he was arrested
disturbing the peace. under the ‘Mann Act’ – a piece of
A similar situation had more serious legislation ostensibly set in place
consequences at the turn of the following to stop “white slave trafficking”
year: in December ’59, Berry was charged but mainly used either to curb sex
with transporting a minor across state work and/or as a pretext to arrest
lines for immoral purposes (see the someone for whom authorities do
Controversies sidebar again), although not care – for moving a 14 year old
the situation seemed like an excuse to girl over state lines to work in his
punish an uppity black man rather than
Berry’s Club Bandstand venue. It was
any suggestion that Berry was actually
alleged that Berry had sex with the
involved in “white slavery”.
He successfully appealed the verdict girl, and he eventually served one
on the ground that the judge was openly and a half years for the crime, which
racist (throughout the trial, Judge George badly derailed his career.
H. Moore refused to use Berry’s name, In 1979, he pleaded guilty to tax
referring to him only as “this negro”), but a evasion for playing cash-in-hand
retrial in 1961 nonetheless also found him shows on the club circuit as his star
guilty and he ended up spending the next power dwindled, accepting five
18 months in prison. This should have killed months in prison and 1,000 hours
his career stone dead, but fortunately, he of community service in the form of
had some unexpected allies. While Berry benefit concerts.
had been languishing in jail, his music had In 1990, he agreed to a settlement
been inspiring some of the most important
after a class action suit was brought
artists of the age. Not only were British
bands like The Beatles and The Rolling against him by 59 female employees
Stones covering his material, closer to of his Southern Air restaurant in
home The Beach Boys were rewriting the Wentzville, Missouri, who claimed
lyrics to “Sweet Little Sixteen” as “Surfin’ he’d been secretly videotaping them
USA” (and creating a legal headache over on the toilet. He claimed at the time
copyright – these days, the owners of that he’d installed the camera to
Berry’s publishers – Arc Music – control the catch an employee who was stealing
copyright, and the song is typically credited from the till, although it’s hard to see
to him and Brian Wilson – although Beach why the till would be in the women’s
Boy Mike Love claims that he contributed to bathroom. In any case, police
the song, as he tediously does with most of investigating the claims reportedly
Wilson’s compositions).
found videotapes of women –
For his part, Berry signed a new deal
including at least one who was
with Mercury and enjoyed international
hits with “You Never Can Tell” and underage – using the toilet, as well
“Nadine”, although his other big hit of the as a felony amount of marijuana.
sixties, “No Particular Place To Go” – a After agreeing to cop to possession
rewrite of “School Days” about the new the drugs, the child porn charges
laws concerning seatbelts – suggested were dropped and he served a
he was starting to tread water. This suspended sentence.
indifference also came through in his live
performances, which were starting to
become increasingly erratic. Prison had
40 | COVER STORY
| australianguitarmag.com.au
“PRISON HAD KILLED
| 41
SOMETHING INSIDE
BERRY, AND HIS THE
PRIORITY FROM THIS SOUND!
POINT ON WAS TO Unlike most guitarists covered
in this esteemed publication, Berry
WAS OWED”
slab of his career he travelled with
a single guitar and expected the
venues he was playing at to supply
everything else, from the backline to
the backing band. Sonic control was
not, it seems, his primary concern.
Berry has always been associated
with hollow-bodied Gibson guitars:
first up, the 1957 ES-350 T (that’s
what you hear on “Johnny B.
Goode” and “Maybelline”) and then
the ES-335 from 1958 onwards.
Even his later custom Les Paul was a
hollowbody, which kind of defeats
the purpose of having a Les Paul.
You’ll also need a Fender amp to get
that toppy, twangy cut-through – a
Fender Pro should do the job nicely.
Also, if you’ve been playing along
with Berry records and wondering
if the mastering had slowed them
down because you had to tune
down half a step, it’s because Berry
actually played in flats: E flat and B
flat, particularly.
It’s never been confirmed exactly
why that was, but the prevailing
theory was that it was thanks to his
early collaborator and piano player,
Johnnie Johnson, who favoured
pounding on the black keys for his
thumping boogie-woogie.
42 | COVER STORY
“WHILE IT WAS
RECORDED
WITHOUT KNOWING
HOW SOON HIS
DEATH WOULD
COME, [CHUCK]
WAS ALWAYS
INTENDED AS HIS
FINAL ALBUM. AND
SO IT PROVED”
| australianguitarmag.com.au
OUTER
others – and Berry himself, largely not giving
a shit and focussing on how much he’ll be
paid. Still, it gave his reputation a much
needed shot in the arm – as did his induction
SPACE!
that year as one of the inaugural honourees
in the Rock And Roll Hall Of Fame.
From there he got by on regular touring,
plus a monthly Wednesday night gig at St.
Louis’ Blueberry Hill club when he wasn’t
on the road, and the occasional legal At the time of writing, the Voyager
stoush – such as his notorious $1.2 million 1 and 2 probes were approximately
settlement with former employees at his 20.6 billion kilometres and 17.05
Southern Air restaurant in 1990 after billion kilometres away from Earth,
he set up a hidden camera in the female respectively, which is a pretty
toilets, and a 2000 copyright battle with his impressive distance for elderly
former musical foil Johnson, who claimed robots launched into space in 1977.
he’d co-written over 50 of Berry’s songs, Upon both probes is a golden
including all of the biggest hits (the case
record etched with instructions
was ultimately dismissed).
Touring slowed down after Berry
on how it might be played should
collapsed during a 2011 New Years Day any intelligent life discover it,
show in Chicago, but in 2017, he recorded and it contains Sounds Of Earth:
Chuck at the age of 90 – his first album birdsong, greetings in multiple
since Rock It. It featured his live band and languages, and music – including
several of his children (and Tom Morello, for Beethoven, Mozart, and one single
some reason), and was dedicated to Toddy, example of modern rock’n’roll
with several songs alluding to his marriage – in the form of Berry’s “Johnny B.
including the follow-up to his most enduring Goode” (although EMI turned down
hit, titled “Lady B. Goode”. While it was a request for The Beatles’ “Here
recorded without knowing how soon his Comes The Sun”, because they’re
death would come, it was always intended
apparently fools).
as his final album. And so it proved.
Astronomer and physicist Carl
On March 18th 2017, an ambulance
was called to his home, where Berry Sagan, who had spearheaded
was unresponsive after what was later the Golden Record project, sent
confirmed as a heart attack. His funeral a lovely letter to celebrate Berry’s
was held three weeks later with Berry 60th birthday. “When they tell
lying in state at St. Louis club The Pageant you that your music will live
(his cherry red Gibson 335 fixed into the forever, you can usually be sure
lid of his coffin) for fans to pay their final they’re exaggerating,” he wrote.
respects. Famous fans also paid tribute: “But ‘Johnny B. Goode’ is on the
The Rolling Stones sent a massive guitar- Voyager interstellar records attached
shaped floral arrangement, letters from Bill to NASA’s Voyager spacecraft…
Clinton and Paul McCartney were read, and These records will last a billion years
KISS’ Gene Simmons made an impromptu
or more. Happy 60th birthday, with
speech about Berry’s role in “breaking
down barriers” in music.
our admiration for the music you
He was a complicated man, with more have given to this world.”
than a few demons, but his influence on This also inspired a 1977 sketch
modern music is immeasurable. We will not on Saturday Night Live, in which
see his like again. NASA receives the first ever
message from an alien civilisation:
“Send more Chuck Berry.”
44 | COVER STORY
THE
BEATLES!
The connection between Berry and The Beatles goes deeper
than mere fandom – although the Liverpool lads were massive
Berry fans who drew deep from the well of his catalogue.
George Harrison turned “Roll Over Beethoven” into his lead
vocal turn at gigs and on With The Beatles in 1963, while
John Lennon’s ragged vocal on “Rock And Roll Music” was a
highlight of Beatles For Sale the following year. Years later, the
archival collections Live At The BBC brought a slew of Berry
covers to the public, including “Sweet Little Sixteen”, “Too
Much Monkey Business”, “Johnny B. Goode” and “Carol”,
among others.
However, Berry also inspired two of the band’s most beloved
songs: one by Paul and the other by John.
In 1968, while on a meditation retreat in Rishikesh, Paul
McCartney was goofing around with a Berry-style chug
celebrating Russia, twisting Berry’s title “Back In The USA” to
a Beach Boys’ parody about how Ukraine girls really knock
him out – which, disappointingly, wasn’t him mysteriously
predicting the 2014 civil uprising over Russia annexing the
Crimean peninsula. The resultant “Back In The USSR” became
the spirited opening track on The White Album, as well as a
showcase of just what McCartney could do with a six-string
bass. This wasn’t the only Beatles opener to have a Berry
connection, though this one got a wee bit more complicated
and involved Berry only tangentially. It’s also a fine example of
how much copyright law was a free-for-all in the ‘70s.
The final (recorded) Beatles album, Abbey Road, begins
with the slow blues chug of Lennon’s “Come Together”, which
had begun life as an attempt to write a campaign song for the
doomed gubernatorial run of LSD advocate Timothy Leary,
who hoped to defeat Ronald Reagan as governor of California
(spoiler: that didn’t work out).
TOP: CENTRE: Lennon was freestyling nonsense in the studio, including
BERRY TELLING KEITH BERRY ASKING CLAPTON the line, “Here come ol’ flattop, he come groovin’ up slowly,”
RICHARDS TO NEVER IF RICHARDS IS DEAF, which music entrepreneur/opportunist Morris “Mo” Levy – who
TOUCH HIS SHIRT AGAIN STUPID, OR BOTH owned most of Chuck Berry’s copyrights by that stage – felt was
too close to, “Here come a flattop, he was movin’ up with me”
in “You Can’t Catch Me”, and proceeded to sue.
Since the song also bore more than a few musical similarities
to the Berry composition, Lennon copped to the steal and
negotiated an agreement under which he’d record three songs
owned by Levy on a forthcoming album.
And he did attempt to do so – the Phil Spector-produced
covers album Rock’n’roll contained “Ya Ya” and “You Can’t
Catch Me” in 1975, while “Angel Baby” had been attempted
but didn’t make the cut. But Lennon was unable to complete the
album – Spector’s erratic behavior led him to hide the master
tapes at his home after every session, and when he nearly
killed himself in a March 1974 car accident (which left him in a
coma), Lennon couldn’t locate the tapes.
Thus, Lennon released his Walls And Bridges album first in
1974, containing only a snatch of John and Julian Lennon
singing “Ya Ya” rather than the three full songs Levy had
demanded, and Levy sued for breach of contract. Not only
that, but he released the demos that Lennon had sent him
in good faith under the name Roots: John Lennon Sings The
Great Rock & Roll Hits. Levy was awarded a bit over six
thousand dollars for Lennon’s failure to honour the deal;
Lennon was awarded $84,921.86 for Levy releasing the
tapes without permission. So… Yay?
Safe to say, Berry was more of a ‘Stones man.
| australianguitarmag.com.au
46 | FEATURE
o w M e I n
Th r
The R e ver b
| australianguitarmag.com.au
| 47
L
ike most acclaimed rock outfits, The Smith Street Band cut their teeth
playing shitty run-down bars for little more than a hardwood floor to
sleep on. Ironically, it was songs about exactly that (see: “Don’t F***
With Our Dreams”) which threw the Melbourne indie-punks into a chasm
of mainstream adoration. Now selling thousand-cap theatres out as if they
were the local bowlo, the quartet are leaving their scratchy and pensive roots
behind with More Scared Of You Than You Are Of Me: a concept album darting
through the unified tumult of love and adulthood à la sprawling orchestral
undercurrents and rollercoaster soft-loud dynamics.
On earlier releases, frontman and rhythm guitarist Wil Wagner adhered to
a simple, yet effective formula: crank everything up to eleven, snap a couple
strings and wring the absolute shit out of your vocal chords. But in accuminating
his sound, Wagner took a step back and realised that, while on occasion it does
come in handy, aggression isn’t always necessary to convey a sense of passion.
“You can still make a very powerful impact while being quiet and clean,” he
muses, “and that was something I feel like I’ve only just learned with making this
record. Bands like The National, for example, are quite mono-tonal and quiet, but
they’re still really intense and emotional; it’s just that it’s contained and restrained
in this really cool way. I feel like everything that I do is always full of yelling and
harsh guitars – and that’s one way to portray intensity, but I really wanted to
portray intensity in other ways on this record. There’s a lot of examples – like on
‘Run Into The World’ and ‘Passiona’ – where I’m basically playing straight clean
guitars, but I still wanted to be present and I wanted the songs to have substance,
so I’d fuck around with gains and master volumes and all of those kinds of things.”
At first, resisting the urge to annihilate his eardrums was easier said than
done. In order to break old habits, Wagner kept himself tied to a single VOX
AC30 amp for rhythm tones, and an old hundred-watt Marshall – one that “was
only as loud as we’re talking now, but has the best f***ing overdrive” – for leads.
Surprising too for an album as sonically ambitious as More Scared is how often
simplicity bled into other facets of the recording process.
“We tracked a lot of the album live,” Wagner offers. “We overdubbed bits and
pieces, obviously, but the majority of what you hear on the record is us playing
in a room – mostly unedited – trying to actually get all four of us playing at the
same time so that it felt as authentic as we could make it. Because of that, we
just used the gear that we already understand: Lee [Hartney, lead] used the
same two guitars that he uses for the live show – a Squire Jazzmaster and a
Mustang – and I did the same, because I know how to make those guitars sound
the way I like them to sound.”
If there’s one guitar Wagner understands more than any, it’s a Japanese ‘76
Fernandes Stratocaster copy, which he’s held proudly against his waist since he
picked it up two years ago from Melbourne’s famous Music Swop Shop. Plastered
in stickers, patched in tape and monumentally heavy (this scribe almost dropped
it when Wagner handed it to them), he’s quick to label it a favourite piece of kit.
“I have a real love affair with Japanese guitars from 1976 specifically,” he
chuckles. “I’ve got a Japanese Goldtop copy and a double cutaway Les Paul
copy that both happen to be from the same year, too. I love Strats and I love
P-90s, so when I saw a Japanese Strat with P-90s on that wall… I plugged it
in for maybe five seconds and went, ‘Yeah. I’m buying this guitar.’ I was using
Jazzmasters for a long time before as well, and this Strat is exactly how I’ve
48 | FEATURE
| australianguitarmag.com.au
Encore!
qsc.com
©2017 QSC, LLC. All rights reserved. QSC and the QSC
logo are registered trademarks of QSC, LLC in the U.S.
Patent and Trademark Office and other countries.
K10.2 K12.2 K8.2 World of K is a trademark of QSC, LLC.
ST. VINCENT
Photo by Peter Zaluzny
52 | TABLATURE
INCLUDED IN:
Ed Sheeran - X
One
Words and Music by Ed Sheeran
Guitar Recorded Versions
Hal Leonard 138870
All Gtrs.
6=D 3=G G D5 A('11) G(„ˆˆ9)/B B‹7
5=A 2=A 4fr 6fr 7fr 7fr
4=D 1=D
Intro
Freely (q = 93)
[D]*
1
Gtr. 1 (steel . acou
²²²²²²²²
²²²²²²²²²
5
pp
mp let ring… ²²²²²²²²²² ²²²²²²²²²²²²²
11 12 11 9 7 ^7 ^7 7 9 11
2 0
*Chord names reflect overall harmony
Verse
[D] [A]
:: :
:
1. Tell me that you’d turn down the man who asks for your hand
2. Take my hand and my heart and soul, I will
:
::
ring .
mp
: 11 11 11 11 11 11 11 11 11 6 7
:
2 0 0 0 0 0 0 0 0 0 0 7 7
7 7 7 4 4 11 11 11 11 11 11 11
2 9 9 9 9 5 5 0 0 0 0 0 0
| australianguitarmag.com.au
| 53
[A]
: : :
you’re gon - na be a - way a while, I’ve got no plans
ev - ’ry - thing chan - ges, but we’ll be stran - gers if
11 11 11 11 12 11 11 11 11 11 6 7
0
0 0 0 0 0 0 0 0 0 0 0 7 7 7
:
at all to leave. Would you take
we see this through We coul
7 7 7 4 4 4 11 11 11 11 11 11 = 6
2 9 9 9 9 5 5 0 0 0 0 0
[A] [G]
: :
a - way my hopes and dreams and just
stay with - in these walls and bleed, or just
:
0
6 6 6 6 4 4 4 4 4
2 7 7 7 7 7 7 7 5 5 5 5 5 5 0
:
stay with me. Ooh.
stay with me. Oh, Lord, now. /
4 4 6 6
2 2 2 2 2 2 0 0 0 0
2 2 2 2 2 2
2
2
0
5 5 7 7 7
0
54 | TABLATURE
Chorus
[ ] [D C#]
All my sen - ses come to life while I’m stum - bling home as
mf
11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11
12 12 12 12 12 12 12 12 12 12 12 12 11 11 11 11 11 11
[B ] [ ]
11 11 11 11 7 7 7 7 7 4 4 4 4 4
2 11 11 11 11 11
0
9 9 9 9 9 5 5 5 5 5 5 7
[A] [ ] [A] [ ]
: : :
’cause you are the on - ly one. And all my friends have
6 6 6 6 6 0 4 4 6 6 11 11 11 11 11 11
0 0 0
2 7 7 7 7 7
0
5 5 7 7 7
0
12 12 12 12 12 12
[D C#]
gone to find an - oth - er place to let their hearts col - lide, just pro -
11 11 11 11 11 11 11 11 11 11 11 11 11 11
2 12 12 12 12 12 12 11 11 11 11 11 11 11 11 11 11 11
0
| australianguitarmag.com.au
| 55
[B ] [ ]
7 7 7 7 7 4 4 4 4 4
9 9 9 9 9 5 5 5 5 5 5 7
1.
[A] [ ] [ ]
: : :
now, ’cause you are the on - ly one.
0
6 6 6 6 6 4
0
4
0
6 6 k 11
0
7 7 7 7 7 7 5 5 7 7
2.
[D] [ ] [ ]
: : : ::
:
cont. in slashes
p pp
11 11 11 11 11 11 11 11 11 11 11 11
: 4 6 6 7
: 0 0
0 0 0 0 0 0 0 0 5 5 7 7 7 7
Bridge
G D5
Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò
w/ad lib. strumming/picking
Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò
:
I am so gone, so tell me the way home.
G D5 G
Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò
:
I lis - ten to sad songs, sing - ing a - bout love,
A('11)
Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò cont. in stave
: :
and where it goes wrong.
Ooh.
E :
:
:
:
0
7 4 2 4 7 4 2 2 4 2 7 4
0
0
9 5 0 0 0 0 9 5 0 0 9 5 5
| australianguitarmag.com.au
| 57
Outro Chorus
[ ] [D C#]
All my sen - ses come to life while I’m stum - bling home as
11 11 11 11 11 11 11
0 0 0 0 0 0 0 0 11 11 11 11
[B 7] [G('9)]
E ::: :::
:: ::
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
11 11 0 7 7 7 4 4 4 4 0
0 0 0 0 0 0
2 11 11 11
X
9
X
5
:::
::
mf
0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0
6 6 6 0 4 4 4 6 6 6 0 0 X X X
0 0 0 0 0 0 0 0 0 0 0
2 X
7
X
5
X
5
X
5 7
X
7
X
7
X
12 12 12 12 12
58 | TABLATURE
[D C#]
0 0 0 0 0 0
0 0 0 0 0 0
X 11 11 X X X
0 0 0 0 0 0
X X
12 12 12 12 12 11 11 11 11 11
[B 7]
0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0
X X X 7 7 7 7 7 7
0 0 0 0 0 0 0 0 0 0 0
2 X
11 11 11 9 9
X
9 9 9
X
9 9 9
0 0
near bridge
0 0 0 0 0 0 0 0 0 0
G GG G
0 0 0 0 0 0 0 0 0 0
6 6 6 0 0 4 4 4 6 6 2 2
0 0 0 0 0 0 0 0 0 0
X X X X 0
7 7 7 5 5 5 7 7 0
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A N EW GE N E R ATI O N
FENDER.COM "6
O F AC O U S TI C S
PARAMOUNT SERIES PM1 ALL MAHOGANY NE
©2017 Fender Musical Instruments, Corp. Paramount® is a registered trademark of Jackson/Charvel Manufacturing, Inc. All rights reserved.
CAPTURE THE SOUND
E P IN G T H E D .I.Y
KE ITH
S P IR IT A L IV E W
ANNA
LAVERTY
RECORDING TIPS STUDIO TESTED
BROUGHT TO YOU BY ACOUSTICS 101 • POSITIVE GRID BIAS HEAD
PROFILE • STEINBERG R22MKII
SOUNDMACHINE STUDIOS RECORDING PACK
62 | STUDIO PROFILE
LOCATION GEAR LIST? operations, and is primarily used around one multifunctional control
Dandenong, South Melbourne, Dandenong for editing, overdubs and mixing. room with tie lines accessible to other
Camberwell (in construction) and This the heart of the studio South Melbourne runs an RME800 parts of the house for recording.
Berlin (yes, Berlin Germany). setup with the largest gear list. We interface with a few outboard treats
run an HD3 rig (48 in and out) via housed in the racks. It also features Berlin
YOUR DIMENSIONS? Lynx Aurora 16’s with option to run custom monitoring by ProHarmonic Our other studio brother/espionage
Dandenong Protools HD10, 11 (vanilla), Logic 10 with NS10s and ProAc 100s all paired creator Kris has just recently moved
Control room (4 x 3.5 x 3m), or Ableton 9. to a Bryston 9b. All equipment to Berlin in Germany, and he’s having
live room (6 x 5 x 3m), lounge/ One can follow a full analog path from Dandenong is moveable upon a righteous old time creating music
kitchen (5.5 x 4 x 3.5m) and garage through our tape machines to either request free of charge. under his label Power Station,
(30 x 25 x 10m). our 32 channel Soundtracs Quartz or producing for other artists and just
South Melbourne Neve 542 consoles, or mix it up via Camberwell getting weird in Berlin.
Control room (4 x 5 x 3m). a fully integrated patchbay - digital Currently in construction! Dave’s He runs a more than modest outfit
Camberwell hybrid style - and utilise an array of renovating his house so should focused around Logic X, Aurora 16s
Control room (6 x 5 x 3.5m). outboard gear. Brands such as Neve, probably have put a roof over his and his Toft ATB 24 to tie everything
Berlin Chandler, Vintech, Avalon, Lexicon, head before embarking on a studio, together. Kris is a synth/outboard
Control room (8 x 5 x 3m) and Gyraf, Tubetech, SSL, Soundtracs, MCI, but you know how it is… The place will gear head that keeps his place toasty
live room (10 x 5 x 3m). Universal Audio and many more are primarily be a mixing and mastering warm even in those cold German
housed at Sound Machine. suite with all the trimmings, based winter months.
Our mic locker contains a wide
variety of brands such as AKG, Audix,
Beyerdynamic, BandO, Cadenza,
Carillon, Cascade, Crown, Heil,
Neumann, Oktava, Rode, Sennheiser,
Shure, Sony and Telefunken.
We monitor via ProAc 100s, NS10s
and Tannoy SRM10s all with beautiful
amps to suit. An array of headphones
await your ears as well.
All instruments are free to use
whilst at the studio with some vintage
gems to modern classics lurking the
halls. Plug it in and see what happens!
South Melbourne
This is the smallest of the
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THE ALL-NEW VOX
M V50
$
349.99 RRP*
The pre-amp circuit in the MV50 features a staggering number of analogue components
that effectively reproduce the dynamic character of a traditional tube amp, while an
innovative Class D power amp provides enough volume for any environment.
With speaker & line/headphone outputs, the MV50 is perfect for the stage, at home,
or in the studio for direct recording.
*The prices set out in this advertisement are recommended retail prices (RRP) only and there is no obligation for Vox dealers to comply with this recommendation. Errors and omissions excepted.
RECODING TECHNIQUES
WITH ANNA LAVERTY
A LITTLE BIT OF HOME RECORDING COULD BE THE BEST ADDITION TO YOUR
UPCOMING RECORD. BY PETER ZALUZNY
P
utting together a decent spend precious studio time trying to about ProTools?” [laughs]. They bass because it’s a bass – you have
demo at home isn’t too hard, recreate what they already have. ring me at random hours and I talk to listen to the tone and chose the
what with all the high-quality people through the steps, or I get appropriate tool.
and relatively affordable recording Any examples of that in action? texts asking about shot cuts.
equipment around. Sure, your I was in the studio with a band It’s interesting you mention bass,
bedroom probably doesn’t compare called New Gods, and we were Is there anything a band can do to because you tend to use it to plug
to a full-blown studio with all the bells really trying to get the first half of make your life easier when they the gaps in most of your mixes and
and whistles, but there’s an argument a song – which was piano and vocal bring in some home takes? create a kind of soft, warm filling.
to be had in favour of pressing – for about half of a day. The singer Name all of your tracks before you Why do you prefer that approach?
record in a comfortable, familiar couldn’t get it to work, but he went start recording, so that you don’t The bass is so important. It’s the
environment. That’s according to home that night and recorded it on a have 5,000 tracks called “Audio grounding of the song and sometimes
Anna Laverty, the seasoned producer quarter-inch tape machine with on a 1”, “Audio 2”, “Audio 3”, etc. And if I feel it gets a little bit forgotten. So
and engineer who’s worked with piano that was out of tune. The next you’re going to do vocals, use the I tend to listen to the natural note
bands all over the world, including day, he brought it in and said, “This is best microphone that you can. I don’t of that instrument, and that’s the
Aussie acts Peep Tempel and Meg the kind of energy I want to capture.” love listening to a really great vocal part that I boost a little bit, then use
Mac. Laverty loves a bit of DIY work, I was like, “You captured it. Use it!” performance that’s over-compressed everything else within that one tone
so much so that she doesn’t just So we ended up using that, but the or sung through a dodgy mic, like to support that one note. When I’m
suggest it, she encourages it! In fact, second half of the song was the the cheaper kind of large diaphragm mixing, I’ll listen to the whole song and
some of the EPs and albums she’s whole band, so we had to crossfade condenser microphones – I really just be focusing on the bass to make
worked on include takes that were between that and the point in the would push people to hire a valve mic sure I can hear every single note.
tracked in musicians’ homes before song when all the horns, drums, bass for the day or something like that.
being mixed in the studio – and they and everyone else comes in. But it But even then, a lot of your rock
sound fantastic. worked! Every time I listen to it, I Do you use a bunch of mics at the and punk stuff has so much punch,
hear that edit and I’m like, “God, how same time to give yourself variety like the Peep Tempel records. How
Why do you think a combination did we get away with that?” when mixing, and so on? do create that kick?
of DIY and studio recording is the I go to tape usually, so I don’t really Choosing the right microphone
best approach for some bands? Based on that experience, would have the luxury of putting seven mics for every single singer and a great
Obviously, I would prefer to be in you encourage everyone to try DIY on and choosing the best one. And performance of a good song. My God,
charge of a whole project from the recording at least once? it also comes from that whole ethos we blow up about five amps on every
start to the end [laughs], but these Totally. But then again, I’m of making a decision. I often use two record that [The Peep Tempel] do –
days it doesn’t happen all that much pretty rare in saying that. A lot mics on a guitar and blend the two that’s how we get those tones. We
because of budget. So if a band comes of producers definitely wouldn’t sounds. But every single decision has just drive them too hard, and we’re
to me and they’ve already made a encourage that. I end up getting a lot to be made based on what you’re always ringing up techs saying, “We
demo with a certain tone that sounds of phone calls from musicians who listening to. I don’t believe in, say, blew up the amp again, can you have
really, really cool, I’m not going to are like, “Can I ask you something using the same microphone on every it fixed by 10am?”
| australianguitarmag.com.au
66 | TESTING 123
$2,352 RRP
POSITIVEGRID BIASHEAD
ONE OF THE PREMIERE AMP SIMULATION COMPANIES BRINGS THEIR POPULAR TECHNOLOGY TO YOU IN A
CAB-FRIENDLY FORMAT. ALEX WILSON CHECKS IT OUT.
TIME TO GET CONNECTED indicates that Positive Grid have most setting I explored would easily yield a suspect the culprit was the absence of
The front plate contains tried-and- bases covered, whether onstage or usable sound that I could see pleasing tubes. However, I think it’s important to
true gain, EQ and master volume in a studio setting. The simulations a live audience or finding a place be pragmatic here. These are rarefied
controls. The extras are in the upper themselves definitely numerous — once in a well-mixed studio recording. feelings that come from guitarists who
row, where the BIAS amp settings you’ve sampled all of the classics that The reality is that this is the era of obsess over gear. It’s important to
can be tweaked. 25 classic amp the unit comes with, it’s easy enough companies like Kemper, Fractal and, remember that your average listener
simulations are accessible, and can to log onto Positive Grid’s online indeed, Positive Grid. The technology or live punter may not care that much
be customised based by gain stage, ToneCloud platform and explore an for faithfully recreating appealing for your beloved analog warmth.
power amp and cabinet simulation. infinite world of guitar tone. Or, you guitar tones without the need for
The back plate contains stereo outs may choose to dive into BIAS yourself heavy analog hardware has advanced THE BOTTOM LINE
(balanced and unbalanced), a speaker and start creating your own amps from to an impressive point, a fact very well There are undoubtedly situations
jack, headphone jack, MIDI sockets, scratch, digital valve by digital vale. exhibited by the sounds available in where this unit would be the obvious
footswitch inputs, and an effects loop. Or, you may choose to take advantage the BIAS Head. One thing I disliked was purchase. You could be a project studio
The BIAS Head can run as a of the hardware’s tone-matching the lack of any stompbox emulations. owner that wants an array of amps
soundcard via a USB connection and technology, creating a tone print of As an owner of Positive Grid’s BIAS FX on hand without breaking the bank
also has wireless capability when your favourite valve gear and taking it desktop software, I know they have this or adding unwanted latency in the
Bluetooth-paired with Positive Grid’s with you as a patch. In terms of sheer technology, and it would be nice for signal chain. You could be a gigging
iPad software. Be aware that the possibility, there’s a huge amount of some of those options to be available musician that wants a lightweight and
Bluetooth capability will be necessary ground to cover. This is a definite plus in the BIAS head. This would only add flexible solution to your diverse tonal
to access the program’s GUI when when it’s packed in a unit so compact. to its flexibility and compactness. needs. There’s a good chance you
you’re away from your computer. Of course, there will be tube fanatics could be both, too, and the BIAS Head
A MODEL CITIZEN that claim to hear a difference. They’ll really shines as being able to provide
A TONE-WORLD ON THE GO The tube emulations themselves be right in some cases: at times, I felt excellent sound, with tremendous
Overall, the above capability perform to a high standard. Each a nagging something lacking and I value for money, in both situations.
| australianguitarmag.com.au
| 67
$449 RRP
STEINBERGUR22 MKIIRECORDINGPACK
SETTING UP A HOME STUDIO CAN BE DAUNTING. STEINBERG TAKES SOME OF THE STRESS OUT OF IT.
BY PETER HODGSON
O
ne of the most daunting knob to select between DAW or input when you don’t have access to a set mic itself is very handy as a multi-
things about setting up monitoring, separate phones’ output of full studio monitors. purpose unit. You might even find
a home studio is figuring level control and more. And it’s not Steinberg also includes plenty of yourself enjoying it for guitar cabs
out what goes with what. System just for your computer; connect it to software to do your actual recording more than, say, the venerable Shure
compatibility can be a big problem, an iPad in CC mode with either the into: Cubase AI (a music production SM57, since this mic won’t give you
and the prices can be kind of a Camera Connection Kit or Lightning- software combining audio and MIDI that upper-mid bite that some players
downer. Steinberg has made both to-USB Camera Adapter. recording, editing and mixing), love and some do everything to dial
of these concerns a little easier by Next, you’ll need something to get Cubasis LE (a compact version of out. Personally, I really appreciated
bundling three products together acoustic sound into the interface. Steinberg’s streamlined, multi-touch the ability to hook the system up to
with all associated cordage. They call Steinberg includes an ST-M01 sequencer for the iPad) and WaveLab my iPad Pro for recording in different
it the UR22 mkII Recording Pack. studio condenser microphone, a LE, a dedicated audio editor and parts of the house, away from my
high-sensitivity and wide-frequency mastering package. monitors, amp and keyboards. It was
NICE PACKAGE response mic designed to cover a nice to sit in the back yard and strum
The UR22 mkII Recording Pack lot of ground, including vocals and GET MOBILE out a few song sketches for the birds
starts with – surprise surprise – the acoustic guitar. A low-noise cable This is a great easy-setup system and unappreciative neighbours.
Steinberg UR22 mkII interface. It is included, as is a mic clip. So you for home recording, especially if
allows you to record and compose can hear what you’re doing, there’s you’re a soloist or you lay down a lot THE BOTTOM LINE
music in studio quality, with a pair of ST-H01 studio monitor of ideas by yourself one track at a This is a great setup for the
24-bit/192kHz recording quality, headphones included, which are time. It’ll handle a few instruments beginner or hobbyist, or those who
connections for electric guitars designed to provide an accurate, at once, but you might be pushing want a satellite system to take with
and basses via a Hi-Z switch, plus sonically true and neutral signal the limits of the R22 mkII – not to them in low-footprint situations.
connection for MIDI gear such as listening experience that is perfect mention the one included mic – if you It’s also more than enough for
drum pads and controllers. It has two for monitoring your performance try to record a full band. That said, podcasters: especially when you
Class-A D-PRE mic preamps, a mix during recording or for mixing the mic preamps sound great and the consider the included software.
WALL TO WALL
ROB LONG PERFECTS THE ART OF THE HOME STUDIO
T
hese days, many recordings
are being made in small
spaces – people’s homes,
garages, sheds – pretty much
wherever they can get away with it.
The standards of home recording
have of course grown exponentially
over the last twenty years, largely
due to the digital revolution, and
high quality audio interfaces and
super-fast computers are now
available on a modest budget.
With a decent, well-chosen mic
or two, some good speakers and
headphones, and a healthy mix of
talent and enthusiasm, it’s possible
to get some amazing results with
a pretty basic setup. Eventually,
though, you’ll either want to expand
your setup or overcome limitations
that present themselves over time.
| australianguitarmag.com.au
| 69
ABOVE:
SPEAKER STANDS But before you dive in, it’s best
to have a good listen to your room
BELOW LEFT: before applying any treatment –
WORK THE ANGLES
that way, you know what you’re
dealing with. Once you’ve chosen
your room and cleared it out of
everything unnecessary, it’s time to
measure up the dimensions.
The next challenge is to see how will also resonate. In basic terms, ABOVE: DANCING ON THE
the speakers interact with the side this means that these frequencies CLOUD CEILING
walls. “Early reflections” are caused will be boosted unnaturally. You You may have heard the adage,
by sound bouncing back off nearby can imagine how complex things “Hard floors, soft ceilings”, and
surfaces, which can impede clarity can get – especially if you have the visiting a few professional facilities,
and imaging, and confuse focus unfortunate situation of a square or you will soon see that this approach
when monitoring. As well as this, cubic room. Software analysers (e.g. is very common. Think of it this way
omnidirectional bass frequencies XTZ Room analyser) are available to – everywhere you go, the floor is the
will travel out from the speakers help test for room modes. same distance from your ears. This is
in a sphere-like shape. Some of " BOTH SPEAKERS obviously not the case with ceilings.
the energy which hits the wall will GOT IT CORNERED People use information received from
reflect back towards the speakers. As far as absorbing low NEED TO TRAVEL THE reflected sound off nearby surfaces
This can cause comb filtering frequencies in a simple and cost- constantly as a reference point.
and phase cancellation – thus, effective way, nothing is easier and SAME DISTANCE TO Reflections off the floor also provide
it’s necessary to experiment with more effective than installing corner YOUR EARS AND a familiar and pleasant ambience,
monitor positioning and placing bass traps. Bass frequencies build especially with acoustic instruments.
acoustic treatment on adjacent walls up in corners, and remember that PROJECT ACROSS THE In small rooms, the microphone
to tame reflections. a rectangular room actually has 12 can often be closer to the ceiling
corners – four wall-to-wall, four wall- SAME SURFACES AND than the floor when recording
SYMMETRY to-floor and four wall-to-ceiling. vocals. The reflections bounce back
Keeping things as symmetrical as Next in line for treatment is the CONTOURS AS THEY towards the singer and the mic
possible is paramount. Both speakers rear wall. As bass wavelengths are causing comb filtering, which
need to travel the same distance to so long and powerful, the rear wall TRAVEL THROUGH results in an unnatural and hollow
your ears and project across the same of your studio may well exhibit a low AND AROUND THE sound. Ceilings can be treated in
surfaces and contours as they travel frequency build up and need some numerous ways: installing ceiling
through and around the room. All of trapping to firstly absorb the excess ROOM." tiles, buying or building a ceiling
the reflections should be identical low frequencies, and also to stop cloud, or in creative ways like
on both sides. This can be tricky if the reflecting back into the room hanging an old parachute up.
you have an immovable structural towards the speakers. The extent of your setup and
item like a window, door or built in conversion will obviously depend on
cupboard halfway down the room DIFFUSION CONFUSION a myriad of factors – your budget,
on one side but not the other. You Dealing with mid-to-high the amount and type of usage, how
don’t want obstacles casting ‘acoustic frequencies is a delicate matter, as long you expect to live/work where
shadows’. Even hanging instruments mentioned previously. You don’t you are, and so forth. Tackling
on the walls, or placing rack cases on want to eradicate these frequencies acoustics is a serious – but necessary
one side but not the other will impact and their reflections, you just want – undertaking if you want balanced
how sound reflects in your space. to be able to control them. Acoustic sounding recordings and mixes. Start
absorbers are designed to transfer slow, and improve as you go!
ROOM MODES sound energy into heat, and thus
Every enclosed space has naturally remove a percentage of certain
occurring resonances at certain frequencies from the room entirely.
frequencies, as dictated by the Diffusers, on the other hand,
Rob Long is a
room’s dimensions. For example, a scatter the sound waves and their multi-instrumentalist and producer working
room five metres long would have a reflections in all directions but leave
resonant frequency of around 35Hz. some ambience in the room. Most @FunkyLizardStudios in Newcastle.
Multiples of 35Hz (70, 105, etc.) studios employ a mix of both.
| australianguitarmag.com.au
72 |
COLLINGS D1
DREADNOUGHT
ACOUSTIC
GUITAR
DOES THIS AUSTIN CREATION HAVE TRUE GRIT, OR IS IT A TEXAS
CHAINSAW MASSACRE? CRAIG CARROLL CHECKS THE SPURS.
AUSTINITE DELIGHT
The sitka spruce soundboard – being stiffer than the
not-as-commonly-used cedar top – won’t give you the
pronounced sparkle and string separation for fingerstyle
guitar playing, but that isn't really what this dreadnought
is designed for. When paired with the mahogany back
and sides, standard scale mahogany neck and scalloped
X-bracing, you feel the full power of this guitar when
strumming chords. Belting out a power ballad on the D1 is
epic – perfect for any singer onstage when miked or playing
at home. Playing at volume requires little effort, and
harmonics ring with plenty of sustain. Overall, the sound
is saturated, full and deep in the bass, chimey in the highs,
and delivers plenty of sustain and smoothness in the mids.
The Modified V neck is great for bluegrass and
fingerstyle playing in the lower frets, using your thumb
to play the bass notes while plucking the melody on the
higher strings – although it becomes a hindrance when
playing higher up the neck.
| australianguitarmag.com.au
| 73
MESA/BOOGIE TRIPLE
CROWN TC-50 GUITAR
AMPLIFIER HEAD
WHAT’S NEW AND GOOD IN THE LATEST FLAGSHIP PRODUCT FROM THE CALIFORNIAN AMP HEAVYWEIGHTS?
ALEX WILSON WEIGHS IN.
TIME TO BOOGIE the player’s stock channel requirements have a the Gain knob up a little will add back some body
Although I’m meant to be an objective journalist, surprisingly British flavour. and spark to bring the amp into Fender territory. I
I’ll admit that it’s easy to get excited unboxing found that by switching the clean channel’s Drive
this latest head from MESA/Boogie, not least THE ENGLISH CHANNEL(S) mode, I could conjure out the Triple Crown’s latent
because it exudes heritage and class simply from Take the blue Lo channel, for example. The rich Britishness. Set this way, the headroom feels
its sleek, classic-looking design. Tellingly, there overtones and sense of depth here are trademark AC30-esque, with a richer harmonic midrange and
are also subtle cues in the Triple Crown’s classy California crunch, but there’s a midrange push evocations of that famed Vox glassiness. Drive mode
design that suggest the company’s intention for that harks to Old Blighty. Flip the Drive switch will also suit lead guitar twiddlers; finding a sweet
the amp. The channel LEDs — yellow for clean, blue that comes on this channel and the mid hump spot to bring out your playing’s vocal and tonal
for low gain and red for high gain — mirror those becomes more exaggerated, courting the extra responsiveness isn't difficult.
of a Bogner Ecstasy, evoking the classiness and snarl and gain of a JCM 800. Exploring further At the other side of the spectrum is the red
tonal excellence of high-end boutique designs. Yet reveals a full-bodied and responsive overdrive. The Hi channel. Here, the Triple Crown stops walking
MESA/Boogie are one of the biggest amp makers sound feels satisfyingly layered and complex no an Atlantic tightrope and plays to the company’s
of all time. Reading the Triple Crown’s official hype matter the placement of the Gain knob. There’s a American high-gain strengths. While it doesn’t
sheet – replete with breathless claims of both natural-feeling tube compression as the saturation sound exactly like a Dual Rectifier, it’s certainly
versatility and matchless tone – one can’t help but increases, yet the channel remains dynamic, got the sizzling top-end clarity and low-end depth
think of Marshall’s controversial JVM line. always responding well to pick attack and nuances reminiscent of MESA’s ‘90s classic. However, I
Have the savvy Californians solved the triangle in the fretting hand. found it much easier to dial in. Balancing the low
of tone, flexibility and price? In short: yes. The The yellow Clean channel also manifests a similar end against the presence control felt easy, and
Triple Crown has the potential to appeal to tube versatility, able to project a chiming transparency on interacted sympathetically with the copious gain
snobs as well as the pragmatic player looking for the one hand, a bluesy push on the other, and most the Triple Crown dishes out. The amp really shines
a jack of all trades. And the comparison to the in between as well. The base sound of the channel for heavy rhythms, and the Tight switch seems to
Mother Country’s amp of choice is especially apt, feels close to what MESA’s Mark V was packing, clip the signal, pleasingly controlling dynamics to
because the Triple Crown’s answers to many of which will no doubt satisfy Petrucci fans. Finessing make riffs pop behind the tube compression.
| australianguitarmag.com.au
| 75
IN-DEPTH SPECIFICATIONS
Aesthetically, the Triple Crown is a simple black amp design, the three front BEST IN THE HANDS OF
channels laid out in a pleasingly straightforward way. Six knobs and a switch per The MESA/Boogie Triple Crown is best in the hands of a guitarist who is willing
channel gives ample control without cluttering the front plate. Turn the thing to pay a little extra for a combination of quality sound and performance
around and you’ll see a bevy of options available for the picky player – it’s all versatility. If this amp’s sonic signature sounds appealing to you, and you’re
arranged in a very comprehensible fashion. Underneath the hood, this all-tube looking for a modern tube head that will bring the goods in the studio and on
Class A/B 50-watter is packing two EL-34s in the power stage, plus six 12AX7s and a stage, then the guitar wonks from Petaluma have put forward an extremely
a 12AT7 for the preamps. MESA/Boogie have opted to go for a fixed bias to assist strong contender with the Triple Crown.
with consistency and hassle-free performance, but have helpfully provided a Bias
Select switch to allow optimal operation with 6V6 or 6L6 power tubes.
WHY IT’S ON THE TOP SHELF
In addition to these excellent fundamentals, the Triple Crown comes with
The sheer number of options, the excellent tone and high-grade components
several thoughtful and useful perks. There’s a tube reverb onboard that can
and build add up to a fairly hefty price tag. It’s certainly not the most expensive
be individually assigned to each of the channels. There’s also XLR and Line Out
amp on the market, but it’s in the ballpark.
outputs that can be used for cab-free live
performance or studio recording. Although
one is obliged to use one of MESA’s three
CabClone sims on the XLR out, I was pleased
to find that the Line Out is free of this. The
many of us that like to add cabinet sims in the
box will benefit from being able to harness the
amp’s raw tone in this way.
In addition to an all-channel Master pot, there’s
also an all-channel solo boost. The boosts, the
reverb and any other feature relevant to live
performance are foot-switchable, as well as
assignable to the any of the 256 MIDI presets
that the Triple Crown can handle. I haven’t
covered every single feature of the Triple
Crown, but MESA/Boogie have clearly gone
all-out to ensure that this head won’t come up
wanting in either a live or studio setting.
COLUMN AUDIO AT
AUSTRALIANGUITARMAG.COM.AU
“BERRY B. GOODE”
R
ecently, we saw the passing of = 120
rock’n’roll legend Chuck Berry,
and although past his prime, Ex 1 Ex 2
EXERCISE 1
It’s no secret here that I’m drawing
some of Chuck Berry’s ideas from
the jewel in his guitar playing crown: Ex 5 Rake Ex 6
“Johnny B. Goode”. A good listen to 9 10 11
| australianguitarmag.com.au
Samantha ‘Andrew’ Bennett
Band: Glitoris
SB Signature Model ‘Glitterbomb’
SOLOING STRATEGIES
THE ART OF THE STRING SKIP
O
ne of my favourite players 1
is Nuno Bettencourt
because his playing is
funky, rhythmic, solid, and his
phrasing is spectacular. For me he
falls into that category of great
lead players who are even greater
rhythm players, and you can learn
a hell of a lot from his riffery. But
this particular column is about a
technique he often employs in his 2
leads, and it’s something he shares
in common with Eric Johnson, a very
different player: string skipping.
String skipping is exactly what it
sounds like: skipping over a string
when you’re playing a sequence of
notes. Why do this? Well it breaks
up the monotony and enforces a
wider intervallic leap than if you
were simply running up and down, 3
blasting your way through every
string in order. There are two
ways I like to use string skipping
in my playing. One is designed to
really draw attention to the leap
in intervals by playing a repeating
pattern for a sort of sequencer vibe.
The other is more freeform. Let’s
look at examples of each.
4
SEQUENCER-STYLE
Figure 1 offers two variations (a
major and a minor) on a pattern I use
a lot. This is a good one for building
up dexterity. In Figure 2 you’ll see it
repeated faster. You’ll also notice that
in both of these examples there is no
suggested articulation: try alternate-
picking these exercises with a focus 5
on nice even dynamics. Once you’ve
got that down, explore different
dynamics, such as picking harder on
the highest note of the sequence.
Figure 3 offers two ways to break
out of the rigidity of the pattern to
make it a little more expressive.
In the first bar of this figure, we’re
hammering on/pulling off everything
other than the first note on each evolved out of a particular lick in great for enhancing with hammers, the lick rises, and that jump from
string. This gives it a more flowing, Eric Johnson’s “Manhattan”. What I slides and taps. the A note on the 14th fret of the
liquid vibe. In the second bar we’re like about this one is that it covers I also like to bring the two G string to the C# on the 14th fret
sliding the notes on the B string such a wide range of pitch that it approaches together. Figure 5 is of the B string, while note a string
instead of hammering them. This has a real ‘floating’ vibe (especially more of an ‘up and down’ thing skip, is a wide enough interval to lift
version always cracks me up because with the Lydian mode that it but I stumbled upon this one while the melody even further. This one
it kind of reminds me of a slide employs), which is further enhanced searching for a melody, and it has sounds great with some delay too.
whistle. I’m easily amused. by the fact that it doesn’t go all the a really alien kind of vibe that I Come up with your own string-
way back down to the lowest note wouldn’t have hit upon if I was skipping patterns and see where
FREEFORM-STYLE at the end. The string-skip supports adhering to a specific scale when I they take you. They can be a
Figure 4 is based on a pattern the higher notes rather than defines wrote it. Again the low notes set up great rut-buster when it comes to
I’ve been using for years now, which the whole melodic contour. It’s also a kind of bed from which the rest of creating new melodies and riffs.
| australianguitarmag.com.au
| 79
SHREDDED METAL WITH JIMMY LARDNER-BROWN
COLUMN AUDIO AT
AUSTRALIANGUITARMAG.COM.AU
THE DEAL
H
i folks. For this issue, instead 1
of looking at a bunch of
individual shred exercises,
I thought it would be cool to show
you one of my own complete solos.
The song is called “The Deal”, and
it’s from Sydney power/thrash band
Darker Half’s latest EP, Classified.
This is a moderately paced and
brooding track, and lyrically, it’s
about vampires and aliens. I tried to
capture that same feel with my solo.
EXERCISE 1
I’ve transcribed the full 16-bar
solo, and everything you need to
know is in the transcription (bends,
slides, hammer-ons and pull-offs,
right hand tapping, positioning,
rhythms, chords, etc.). Here are a
few key points to note:
EXERCISE 1
Firstly, Exercise #1 outlines the C
major barre chord in an E major form.
The next bar outlines the C major
arpeggio in this position. It’s easier
to continue this pattern in a diagonal
shape rather than going to the eighth
fret on the high E string, but we want
all of these patterns to work well
in an open position. The advantage 3
of memorising the patterns in this
way is that we can utilise a capo and
easily transpose songs when required.
The C major arpeggio shape is very
important for us to memorise, as we
are outlining the three notes of the
C major triad (C E G). These notes
are important because they are the
resolution notes – if we complete a
phrase on these notes, it will sound
like the phrase has finished. These
notes also work great as starting
points, as they belong to the chord
we are playing over.
The next bar contains the C major
pentatonic pattern. Some guitarists to the key of C major. It is a great Exercise #2 in the same way you did in the progression. If you repeat this
use this shape for most of their soloing idea to play through Exercise #1 from with the Exercise #1, making sure you exercise enough, it should become
ideas, and hopefully you’ll already start to finish on a loop. By doing this, can see where the chord tones and easier to create phrases in the relevant
know some phrases in this box shape you’re able to see exactly which notes pentatonic scale sit underneath all the positions. When we improvise phrases,
so we can build on what you already belong to the C major chord, which notes of the C major scale. This will we want to be able to resolve them
know. Play through this shape a few notes are added to create a pentatonic help you tp create musical phrases to a chord tone over the chord we
times and pay attention to which sound, and which notes are added to that resolve and sound like little are playing. We don’t always want to
notes belong to the C major arpeggio. complete the major scale sound. musical sentences or statements. resolve our phrases, but it is important
A great exercise is to try and resolve that we can. If possible, record this
each phrase to a note belonging to the EXERCISE 2 EXERCISE 3 progression as a loop and play through
C major chord. The same idea works Exercise #2 works in the same Exercise #3 is a simple three-chord Exercises #1 and #2 so you can hear
with the scale pattern in the last bar. way as Exercise #1, however Exercise progression in the key of C major. the notes of the A minor arpeggio,
The C Ionian mode, or major scale, #2 outlines the A major form of the Play through the exercise slowly – 60 pentatonic and modal pattern against
contains all of the notes that belong CAGED system. By mapping out these BPM to start with – so you can get the different chords. Then play through
to key of C major. There are seven of two forms, we can cover a fair amount the patterns under your fingers. The Exercise #3 as it is written, followed
them, and they are all naturals (no of the fretboard, from the twelfth fret idea here is to get used to hearing by an improvised phrase using the
sharps or flats) – and this is unique down to the third fret. Play through the notes surrounding each chord patterns from Exercises #1 and #2.
| australianguitarmag.com.au
MADE RIGHT HERE.
Shown: ES30’s with diecut “W” logo in stainless steel over custom blue fiber and orange exotic material
westoneaudio.com
82 | CD REVIEWS
NORTHLANE
she is – shortcomings and all – and the person slow, stinging “Melatonin”. Production (which
she wants to be. Sometimes she stands strong, Bernasconi handled in solitary) is surprisingly
Mesmer and at others she lets out a barrage of emotions
that build up when feelings of isolation and the
crisp, too, with sonic detail so finicky a keen ear
could even hear the Melbourne strummer’s
UNFD uncertainties of adulthood are bearing down. It fingers brush up against his strings. Our only
all rolls along to the tune of juxtaposed pretty advice is to spin Barefoot Wonderland in bursts:
pop vocals and dirty, warbly riffs that wrap the the album wears thin pretty quickly when
A
fter record in a surrealist air. A Suitable Girl is one listened to from start to finish, but with each
struggling hard hitting, but heavily polished (and often song given a chance to shine on its own, there’s
to find their hilarious) poke at the head and heart. plenty of charm to unfurl.
feet on 2015’s Node, PETER ZALUZNY MATT DORIA
pseudo-djent warriors
Northlane have GARY CLARK JR. AT THE DRIVE IN
stunningly perfected Live / North America 2016 in•ter a•li•a
their rebooted fusion WARNER BROS. RISE
of hyper-experimental In the vinyl-centric The ferocious,
prog rock and pit- days of generations emotional and
churning metalcore. Instantly are guitars heavier past, the art of the unhinged At The
and more restless – Josh Smith nails the rhythm live album was one Drive In that penned
section with temperate baritone riffage, but lead hailed in particular post-hardcore in the
axeman Jon Deiley is downright f***ing remorseless breadth. Absent was ‘90s have – a
with a seven-string. Mesmer offers the two a scopic the faculty to binge whopping 17 years
canvas on which they wreak havoc: sepulchral on iPhone bootlegs since their last full-
bends flood the sullen “Intuition”, while “Fade” or gaudy spectacles length offering –
makes way for shimmering melodies and “Solar” on Blu-Ray – rarely grown up and
shines with a wah-tinged groove. did a showcase ever leave the stage, and when it brought things under control. That’s not to say
In a lot of ways, Mesmer feels like a welcome did, its hefty black wax issue was oft revered more their comeback album, in•ter a•li•a, lacks punch,
step backwards in Northlane’s musical evolution than whatever studio offerings fostered it. It’s with energy and technical precision. It’s just that the
– it keeps the soaring atmospheric soundscapes this earnest love for such nostalgia that Gary Clark new album feels like it’s bursting at the seams
they explored on Node, but also reintroduces the Jr. captures the raw spirit of live soul and blues in on the edge of destruction. 2000’s Relationship
cold and callous breakdowns that made 2013’s his second concert album, Live / North America Of Command, on the other hand, blew things to
Singularity a future metalcore classic. Too, cuts like 2016. Though culled from recordings of shows bits at every opportunity. Command is an album
“Veridian” and “Fade” dip into a louder, flashier played afront tens of thousands of fans, its back- that gets better with every listen, and is worthy
alt-rock vibe that fits the band like a glove – it’s a to-basics compositions washed over with cheers of a pass that just focusses on an individual
cleaner sound than we’re used to, but never does and the gentle atmospherics of the stage impart a intrument – listen to the bass on its own, for
that undercut their otherwise carnal shredding. warming sense of intimacy. Guitar solos are as example: pure tone and songwriting art at play.
Especially as they veer further into the arena scene, searing hot as they are abundant (very), but Comparing it to in•ter a•li•a is unfair in a way,
we can see these more energetic tracks forming the equally poignant are the roaring choruses, hazy but also it’s a comparison that’s inevitable as all
bulk of their live sets. bridges and snappy jam sections that wrap them. the other elements are classic At The Drive In –
To that end, it’s worth staying put if Mesmer The tracklist/setlist is mostly pulled from Jr’s 2015 frenetic song structures, strained screams and
doesn’t get your heart racing at first: the band unwind album, The Story Of Sonny Boy Slim, and in a wildly shifting time signatures ring out in a way
more as the LP progresses, as if to gradually steer soundscape unmarred by overdubs or clean that’s true to their origins. But they also take
the listener down a rabbit hole of better and more production, those cuts soar with every scratchy cues from the various projects that existed while
interesting songs. It’s a first half marred by mundane riff and smoky twang. Jr’s versatility also shines the band was on hiatus – particularly The Mars
and monotonous jams made up for effortlessly by a through in the album’s two penultimate covers, Volta – so in•ter a•li•a doesn’t wind up simply
second half that expands upon everything Northlane “Honest I Do” (Jimmy Reed) and “My Baby’s Gone” repeating the past. As reunion records go, it
have showcased in a storied half-decade. Aided (Elmore James), which play a passionate tribute to feels like they’ve barely skipped a beat in their
by delicate synths and crisp, dynamic production the blues greats of the past before bleeding into discography, and at the end of the day, no one
(courtesy of genre icon David Bendeth), Mesmer the towering, smoky beast that is “Numb”. And really expected At The Drive In to still be a
presents the most confident, enthusiastic and, with a runtime just shy of 75 minutes, it’s hard not blazing inferno. Even so, there’s still plenty of
powerfully so, deafening Northlane yet. to feel perfectly sated by the end of it all. fire left in the beast.
MATT DORIA MATT DORIA PETER ZALUZNY
| australianguitarmag.com.au
84 | HOT GEAR
HOT
GEAR
ERNIE BALL CRADLETUNE
RRP: $63.95 | www.cmcmusic.com.au
The Ernie Ball CradleTune is a portable clip-on tuner and tripod neck cradle
suitable for guitar, bass, and other stringed instruments. It has an oversized 2”
LCD screen that is easy to read from any angle, and is complemented by the
tuner’s dual-axis 360 degree pivot arm for complete flexibility to position the
display to your liking. It has Chromatic, Guitar, Bass, Ukulele, and Violin tuning
modes, as well as selectable clip and microphone sensors. The tripod pivots for
multiple angles of setup to accommodate different instrument types and sizes,
including electric guitars, acoustic guitars, bass guitars, ukuleles, and more. You
can also quickly detach it from the tripod for use as a clip-on practice tuner.
| australianguitarmag.com.au
| 85
LINE 6 HELIX LT
RRP: $1,899 | www.au.yamaha.com
Line 6 follows its revolutionary Helix with the LT guitar processor, featuring the same advanced HX
Modeling technology found in the Helix Floor and Helix Rack processors and Helix Native plug-in, but with
a streamlined I/O complement and hardware configuration. It has a Large 6.2”, 800x480-pixel LCD Screen,
the same 62 amps, 37 cabs, 16 microphones, and 104 effects as the Helix Floor, plus capacitive footswitches
which you can touch to edit, hold to assign or press to engage. There’s also input for up to two expression
pedals, external amp switching, and deep MIDI control.
ESP has announced an Australian-only Limited Edition model, with only eight pieces coming into the
country. It’s a swamp ash-bodied, quilted maple-topped beauty with natural body binding, three-piece hard
maple neck, ebony fingerboard, neck-thru construction, Luminlay dots, Hipshot bridge and direct-mounted
Seymour Duncan Pegasus and Sentient pickups. The finish is called Aqua Marine, and it’s a beauty.
for your
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MA/AG121
88 | REVIEWS
$3,399 RRP
FENDER AMERICANPROFESSIONALSTRATOCASTER
IN A PERFECT WORLD, THERE’D BE A STRAT FOR EVERYONE. OH WAIT, HERE IT IS. BY PETER HODGSON
I
n some ways, the Fender Stratocaster is the radius of vintage Strats (which can be a bit of a the middle and bridge together.
perfect platform for experimentation. That’s challenge if you’re not used to them). There are 22
why we have terms like ‘SuperStrat’, after all. narrow tall frets instead of the traditional 21, and MODS VS ROCKERS
But the basic Stratocaster concept still holds up they’re finished to a very high standard. They’re The V-Mod pickups sound very warm and full,
in much of the same ways it has since the 1950s. very shiny. The inlays are simple dots. especially considering they’re single coils. There’s
The American Professional Stratocaster doesn’t The bridge is a traditional six-saddle vintage-style a lot of detail but plenty of oomph to back it up.
attempt to redefine what the Stratocaster is, but ‘syncronised tremolo’ type, but with a two-point This makes them especially great for those of
it doesn’t ignore the last 60-something years of fulcrum anchor, and there’s a new pop-in tremolo us who like to play with fingers instead of a pick
progress, either. arm that stays securely in position no matter how because they pick up all those sweet nuances, but
hard you play. You can adjust the arm tension to there’s also a great attack when you play with a
PRO LEAGUE your personal preference, too. The tuning machines pick, especially for big brash chords on the bridge
The American Professional Stratocaster has a are die-cast, sealed and non-locking models. or bridge/middle pickup settings. And while a lot
solid alder body with a gloss finish, and is available The pickups are designed by Tim Shaw: a trio of players tend to overlook the middle pickup, it’s
in plenty of cool colours: Sonic Gray, Black, Sienna of V-Mod single coils which are voiced specifically responsible for some of my favourite tones out
Sunburst, Antique Olive, Olympic White and three- for each position and which mix different Alnico of this guitar. It’s just the right amount of sweet
colour Sunburst (yo Fender, where’s red? Everyone magnet types to produce powerful, nuanced tones and snarl. And those ‘2’ and ‘4’ settings are full of
knows Strats sound better when they’re red). The with original Fender sonic DNA. The neck pickup has quack and snap, with lots of detail and bounce.
neck is made of maple with a maple or rosewood Alnico II magnets for the wound strings and Alnico The playability is phenomenal too. The rounded
fretboard depending on what finish you opt for: III for the plain, the middle has Alnico II for the fretboard edges feel great and the neck shape
our review model is a Sonic Gray model with a wound and Alnico V for the plain, and the bridge is is very accommodating. And the guitar itself has
rosewood board, though to be honest, it looks a all Alnico V. Each pickup is designed to have its own incredible natural sustain for a Strat.
little more blue than grey to me. voice but also work as a system, particularly in the
The back of the neck is the new American crucial ‘2’ and ‘4’ pickup selector positions. THE BOTTOM LINE
Professional “Deep C” neck profile, which has There’s also a treble bleed circuit on the This is pretty much the ultimate Stratocaster
more substantial shoulders — somewhere between volume control so you can roll it back without for those who want a very high-quality Strat but
a “Modern C”- and “U”-shaped profile. This is losing upper-end clarity; Fender has designed without hugely idiosyncratic features. It’s not
one of my favourite Fender necks because it’s so each model’s treble bleed circuit differently quite as high-performance as the models with
adaptable to so many players. The fingerboard across the American Professional range so as to compound-radius fingerboards and noiseless
radius is 9.5”, which is a little rounder than what get the most out of each pickup. And the tone pickups, but it represents very much a pro-level
we think of as modern necks (which can run all the controls are configured so that Tone 1 operates Stratocaster as the players of the 1950s might
way up to 20”), but not quite as round as the 7.25” across the neck pickup, while Tone 2 covers both have imagined a 2017 Strat to be.
| australianguitarmag.com.au
| 89
$3,399 RRP
FENDER AMERICANPROFESSIONALTELECASTER
DELUXE SHAWBUCKER
THE TELECASTER DELUXE IS SOMETHING OF AN INDIE BABY, AND FENDER JUST MADE IT EVEN BETTER.
BY PETER HODGSON
F
ender created the Telecaster Deluxe in 1973 The fretwork is very well executed, and the fit and and less bite than you’d get with singles. The neck
in response to the higher levels of drive that finish of the entire guitar is pretty dang well done. pickup has a nice and full voice for clean chords,
players of the era were using. But the ‘70s The electronics consist of a pair of Tim Shaw- and the bridge pickup has a satisfying ‘chuck’
weren’t exactly Fender’s golden years, and while designed Shawbucker pickups specifically for sound. Kick on the gain, though, and these pickups
you can find some damn good vintage examples, each position. Each pickup has its own volume take on a different voice: the bridge pick up has a
there are some turkeys out there as well. Fender’s and tone controls, and there’s a new treble-bleed more rock-worthy, Foo Fighters-esque growl, while
quality control has come a long way from the circuit to ensure that the high end remains good the neck pickup has a sweet, juicy attack which is
dark days of the ‘70s, and these days, you can get and sparkly when you roll the volumes down. The great for strummed overdriven chords, single-note
Tele Deluxes in a variety of different series. The bridge is a six-saddle, through-body Strat hardtail melodies and solos.
American Professional is the latest. type with bent steel saddles, and the tuners are The playability is also a bit more forgiving than
Fender Standard Cast/Sealed Staggered. The a regular Telecaster model: this feels a little more
WHAT’S ON THE TELE? guitar ships with a TSA-approved and very high- like a Strat than a Tele in some ways. That’s good
This Tele’s body is made of solid ash, and our quality hard case. news for folks who have wrestled with the Tele’s
review model is a pretty light piece of wood more stubborn tendencies.
compared to a lot of Telecasters I’ve played. Our SHAW AS SHAW CAN BE
model is black (and finished in glossy polyurethane) While a lot of players associate the Telecaster THE BOTTOM LINE
but you can also get it in Natural, three-colour Deluxe with country, it’s really taken on a life of If you love the sound of a Telecaster Deluxe but
Sunburst and Sonic Gray options. The neck is its own for indie and alternative players in recent you’ve always found the playability a bit rough
made of maple with a maple fingerboard, and years. True to form, the American Professional or the sound too one-dimensional, this variant
there are 22 narrow tall frets. The neck is Fender’s version can handle both very well. The cleans are addresses those issues with ease and confidence.
super-comfy Modern C shape, and the fingerboard sharp and clear, but not strident: since these are It’s a really great-playing guitar that sounds
radius is 9.5” for a curvy, but not too curvy feel. humbuckers, there’s a little more smoothness versatile and it looks the part as well.
C
anada’s Godin Guitars have been building solidbody, but unlike other chambered solids, nor cedar, but part of the mahogany family. It
guitars for over 40 years. They’ve developed these chambers are each tuned to a different note weighs less than Honduran mahogany, has a lovely
a range of instruments, under an assortment to enrich the sound, then vented into the pickup grain, and is a very fine tone wood. As for weight
of marques, that cover most of the variants that cavities to allow the chambers to “breathe” and and resonance, the Summit is reminiscent of early
anyone might want: traditional solidbodies with add some acoustic flavour to the output. Add to Les Pauls which, compared to later models, were
various pickup configurations, thinline electrics, this their proprietary High Definition Revoicer much fuller tonally and not nearly as heavy.
old school-style jazz boxes, traditional acoustics, (HDR) and an active circuit that augments and
chambered solid acoustic/electrics, nylon acoustic/ boosts certain frequencies, and the Summit can READY TO DRIVE
electrics with curved fretboards, solidbody acoustic/ deliver quite a variety of humbucker-style tones. Through the drive channel, the humbuckers
electric mandolins and ukes, and hybrid guitars deliver that addictive, syrupy midrange that we
that will do electric, acoustic and synth-access all LOOKING REFINED love so much. Thick and juicy, it has a touch of
at once. They also do quirky: the Merlin (a fret-able Some less critical (but nice) refinements include extra harmonic information thanks to the vented
dulcimar-ish instrument), the acoustic/electric the rear comfort chamfer, super durable Richlite chambers. Kick in the HDR and the overdrive steps
solidbody Multioud, the Inuk (a fretted Multioud), fretboard, semi-recessed jack socket and control up a notch without any fizzy attack – just plenty
the acoustic/electric solidbody Cavaquinho, the knobs, and one-piece neck binding that is fitted of overtone-laden grunt. In reality, the HDR gives
synth-ready A10 (a solidbody six-string with triple around the end of the fingerboard rather than the Summit three extra sounds, and manipulating
courses for the first and second strings) and the mitred (as on other brands, where it shrinks the very smooth controls (one tone, one volume)
strange, but too-much-fun Glissantar: an 11-string and opens up). There’s even binding around the provides plenty of subtlety within those six options.
chambered solidbody with no frets. headstock. The Summit comes standard with Into a cranked Bassman, the HDR delivers plenty of
a Graphtech bridge and nut, Godin’s special signal to clip the preamp into that Bassman growl
BACK TO BASICS lightweight mini machine heads, and Seymour (then insert an overdrive pedal and stand back).
It’s a seriously diverse catalogue, ranging from Duncan pickups. There’s a load of great features on
traditional to modern to exotic to weird to niche, the Summit, and they make for an exciting variant THE BOTTOM LINE
and always with the player in mind. Recently, on this style of guitar. The Summit’s neck is slick and fast, without being
the Godin folks have gone back to basics with a Unplugged, the Summit immediately presents particularly thin, and the fretwork is faultless.
beautifully made instrument called the Summit a loud and toneful voice. The lows have a springy The sunburst is superbly rendered and the overall
Classic, which features some familiar ideas bounce to them and the upper mids ring with a appearance is deliciously classic. The Summit is
alongside a few subtle refinements. The Summit is clear chime. Strum a big chord and reach up to also available with Duncan P-90s or P-Rails (I have
a maple-top, twin-humbucker, set-neck single cut the headstock and you’ll feel a surprising amount these in my Godin Icon – fabulous), so there are
with a 24 ¾” scale, a 12” radius and a three-a- of resonance. Plugging into a Boogie head with a options if you’re after something a little different.
side headstock. So, let’s call a spade a spade: the custom 212 (G12-65s), the Summit comes alive with The fact is, everything about the Summit speaks
Summit is a Les Paul-style instrument; a time- rich and vibrant tones. Through the clean channel, of deliberate care and attention to detail. There’s
honoured design that has contributed to every the Summit sounds big and bold, with a tight but obviously a lot of passion involved in this re-vamp
style of music since 1952. lively bass and rounded trebles – the front pickup of an iconic design because the improvements are
Godin have taken a good hard look at the especially has a strong and full tone. Under the significant without being blatant. The Summit is a
“original” and fine-tuned the design with some carved maple top, the chambered body is Spanish vintage-style guitar for the contemporary player
detail of their own. The Summit is a chambered cedar (Cedrela Odorata) – which is neither Spanish who appreciates great feel and tone.
| australianguitarmag.com.au
| 91
F
or many, the holy grail is an analog stompbox amps, in the Palladium’s case it refers to the gain around six and the Resonance at zero for a really
that has the feel and response of an of the low end: lower settings give you a cleaner, dynamic response, where softer notes seem super
authentic tube amp. Many have tackled it tighter bass signal, while higher settings give you compressed but harder picking introduces a full-
over the years but the results have always been a more distorted, fat and thick low-end grind. One voiced roar. Or, if you’re into stoner and doom styles,
a little unsatisfying. Seymour Duncan’s approach way to think of it is that the Gain control governs the max out the Resonance control for a huge low-end
is a little different, and it wraps up elements of overall distortion level, while Resonance handles wallop. Personally, I like to use the Palladium with
the company’s past and future: SD was the first the distortion of the low end. The Boost section is the Gain at about three and the Resonance around
company to make a power-scaling amplifier back in inspired by Seymour Duncan’s 805 Overdrive pedal, halfway for a versatile ‘hot-rodded Marshall’ kind
the ‘80s, so their history with amplifier circuits runs with a preset tonal curve but a controllable level of rhythm tone, then use the Boost to kick things up
deep. And Max Gutnik (Senior VP of New Products of boost, and it’s engaged with its own separate a notch for big riffs and solos. The right balance of
at Seymour Duncan) is the guy who brought Line footswitch when the pedal is on (you cannot use the Gain and Resonance gets me as close as I’ve ever
6 Helix to the market, and as VP of Products and Boost section when the pedal is in bypass mode). gotten to one of my touchstone guitar sounds – Jerry
Marketing at Avid he was integral to products like Cantrell’s “Them Bones” tone.
ProTools and ElevenRack. He’s also a heck of a LIGHT IT UP
shredder who takes analog tone very seriously. In The first time you fire up the Palladium, I highly THE BOTTOM LINE
the interests of transparency I should disclose that recommend checking out the suggested settings in It’s eerie how tube-like the Palladium is, and a
I happened to write the manual for this pedal. But the manual. The controls are so versatile that it can quick look at the artists who use it is pretty telling
this is still an objective review – I just happen to take a while to dial in your sound, so the manual of its versatility: Keith Merrow, Wes Hauch and
know the pedal really well. gives you some great places to start – including Periphery’s Mark Holcomb on the metal side, with
grunge and extreme metal sounds. Be aware that Robben Ford, Joe Bonamassa and Blur’s Graham
NO PAIN, NO GAIN the Palladium doesn’t do ‘clean’ at all. If you’re Coxon among the non-metal folks finding great
The Palladium is a high-gain pedal with controls hoping to use it to sculpt a ‘just on the edge of drive’ tones within it. Coxon even said that it inspired him
for Bass, Mid Level, Mid Frequency, Treble tone, you can do so by backing off your guitar’s to want to go out on the road again. But having said
and Presence on the top row, and Level, Gain, volume knob like a real tube amp, but even at the that, the Palladium can be a tricky pedal to come
Resonance and Boost on the bottom row. While lowest setting of the Gain control, you’re going to to grips with on your first try. If you get the chance
Resonance is typically used to describe a “bass get a fair amount of grit when your guitar volume to sit with one for a good chunk of time, you’ll find
equivalent of a presence control” when found in is wide open. One fun trick is to set the Gain at your sound lurking in there.
$35.95 RRP
RNIEBALL
ARADIGM
HOSPHOR BRONZE
Y, IT’S JUST A SET OF STRINGS! RIGHT?
STEVE HENDERSON
o, here we have yet another company string maker eant that he could respond quickly sound – that settled tone you normally start to hear
promising a must-have, game-changing, to market needs, and musicians everywhere after a couple of days. The next thing I noticed was
genre-defining, life-fulfilling answer to our benefited immensely. So began the Ernie Ball the lack of attenuation in the top end (those weird,
prayers. And this time, it’s all about strings. The empire, which has contributed an extraordinary muted highs common to coated strings) – the highs
last few years have seen a focus on things other range of practical, affordable and quality products are loud and proud, retaining their body in the
than the actual lumber: glues, lacquers, nuts and to the music community. upper reaches of the fingerboard: play a D on the
saddles, bridge pins, machine heads, pickups top three strings at the tenth fret and the tone has
and, of course, strings. The recent evolution I WANT TO (BE) BREAK FREE noticeable presence and sustain. Another issue is
of strings has centred on the durability factor Their latest is the Paradigm string range, which the feel: the Paradigms feel ‘normal’ – not slippery
(coated, treated, etc.), sometimes with little regard they claim to be “break resistant” and “ultra or greasy as coated strings are, but smooth with a
to tone or feel. A few years ago, I was asked to durable”. In fact, they’ve put their money where their touch of resistance, so you always know where you
review some treated strings, and, I admit, I was collective mouth is by offering a 90-day replacement are. These are all traditional attributes that other
quite reluctant due to my previous experience guarantee – if they break or rust, they’ll give you a technologies have sometimes compromised for the
with a popular brand of coated string. However, new set. Ernie Ball claim their new high-strength sake of longevity.
I agreed to do it with as open a mind as I could steel is tougher than anything else out there: up to These Paradigm acoustic strings feel right
muster because, well, that’s the gig. Surprisingly, “37 percent increased tensile strength and 70 percent at home on my old D-28. Having had them on
they were fabulous. Having used D’Addario and more fatigue strength” than other coated strings. A the guitar for just a week, I can’t speak to their
Ernie Ball strings for decades, changing to treated high-temp plasma bath “cleans and restructures the corrosion resistivity. To test their toughness,
strings (Cleartone) was a big step. But the new surface of the material at a molecular level” to create however, I’ve given them a hiding with some heavy
technology was sound, and the sound was great! a more stable string surface. Their updated Everlast picks (1mm and 2mm nylons) and some seriously
nanotech treatment is designed to prevent corrosion flawed technique (my students wouldn’t get away
ALWAYS ON THE BALL (on the string surface and in between the windings) with it), and the Paradigms haven’t flinched. They
In recent years, the folks at Ernie Ball have and repel the contaminants that cause these are still as tonally rich as when they were installed,
taken another look at this whole ‘string thing’ and problems. Plus, Paradigm plain strings incorporate and they continue to stay in tune.
currently offer options such as cobalt, titanium their proprietary RPS reinforcement system.
and M-steel strings, along with their traditional THE BOTTOM LINE
types. Now, to say that the Ernie Ball company SETTLE IN I don’t know anything about the tech behind
knows about strings is like saying Einstein was But there are three questions to consider: how this resilience, but it works. The Paradigms sound
quite clever. In the ‘60s, Ernie Ball himself was do they sound, how do they feel, and how do they great – balanced and full – and after getting to know
the guy who responded (when Fender and Gibson last? I test-drove a set of Paradigm phosphor this guitar for four decades, they sound right. Are
wouldn’t) to the needs of professional musicians bronze strings on a 40-year-old Martin D-28 (the they cheap? Not at $30-something. But that’s not
by providing lighter string sets and single gauged benchmark model for acoustic guitars) and the first the question. The question is, are they good value?
strings so that players could personalise the feel thing I noticed was that the sound is not brassy When they last three or more times longer than
of their guitars, be more expressive (bend easier), and clangy, like many brands tend to be when first standard strings, the answer is a clear ‘yes’. And
and fine-tune their tone. His independence as a installed. The Paradigms have a kind of played-in that makes them cheap!
| australianguitarmag.com.au
| 93
Combo
$1,995 RRP
DV MARK SILVER Head only
$1,295 RRP
GENERATION GEN 15
A CONTEMPORARY AMP WITH A TRADITIONAL
ATTITUDE. BY STEVE HENDERSON
H
ot on the heels of a string of innovative (but and expressive body, and the Icon (with Seymour amp: it just leaned a little more towards the Recto/
practical) guitar amp designs, DV Mark has Duncan P-rails) delivered a huge variety of sounds Marshall kind of deal and happily delivered some
gone back to the basics for a little pocket – from single coil thwack to the rock’n’roll clunk mighty crunch sounds.
rocket called the Gen 15. Maybe it’s their recent of P-90s, all the way to humbucking juiciness. The The Gen 15 seems to handle all manners of
association with Music Man, or maybe it’s just time Gen 15 handled them all without ever producing gain-based input. Even doubling up on the pedals
to do something simple instead clever. Either way, that gnarly crunch of an overloaded (in a bad way) (yep, two at once) didn’t mush up the Gen 15’s
the Gen 15 presents an interesting middle ground circuit. In fact, the Gen 15 handled all of these 12AX7 front end. The clarity remained consistent
between modern technology and vintage cred. guitars without ever having to compensate tonally from pedal to pedal, no matter which guitar was
for each – there are simply no dud sounds here. employed. The interactive tone controls have
SWEET 15 plenty of range, and the gain circuit – while not
The Gen 15 is a single-channel, all-tube combo THE PERFECT PEDAL PAIRER metal heaven – has more than enough drive for
that delivers a solid 15 watts from a pair of EL84s The clean sounds are pristine and surprisingly the whole barroom boogie/Aussie rock vibe. Want
through a single 12” driver. It has gain, volume broad thanks to the 12” speaker, but maxing the more grunt? Use a pedal – the Gen 15 loves ‘em.
and boost – you can dial up a wide variety of gain knob with the master volume at midday Want ‘bigger’? Three speaker outs will interface
sounds with a full tone set, and then sweeten it up produced a nice furriness that wasn’t quite with a larger (or just another) cab. I used a
with a touch (or a lot) of reverb. The look is very distorted but wasn’t really clean. This is actually vintage Mesa 412 and a custom 212 (with G12-65s)
reminiscent of those Music Man RD/RP amps of a really handy tone because it adds density to a – the Gen 15 filled the room with a seriously big,
the ‘80s: black face panel, silver grille, chrome ‘clean’ rhythm part and absolutely loves to be but controlled tone.
chassis straps, etc. But DV mark has used a flat pushed by a boost or low-gain drive pedal. I used
(not slanted) and recessed faceplate to protect the a Zendrive, a Mesa Flux-Five, a Suhr Shiba Drive, a THE BOTTOM LINE
knobs a little better; chicken head knobs; leather BBE Green Screamer, and a really old silver screw The Gen 15 is simple to understand and operate,
cabinet corners; and a stylish, old school-style Boss DS-1 (yeah, I know it’s a distortion and not an and the amp readily delivers high quality tones. Its
leather handle. The whole package is just under overdrive, but it just sounds so good). The Gen 15 dynamic, touch-sensitive feel is great, and there’s
480mm tall (under 19” including the handle) and happily worked with all of these pedals without any no missing that Fender-style spank (even with
weighs a smidgeon under nine kilograms (20lbs). fizzing or barking. The Screamer (a high quality EL84s) when you just want to hear a really clean
If you like that whole ‘70s/’80s Fender/Music Man TS9) had that characteristic compression and amp. Turn up the mids and it’ll go all Vox-y on you.
vibe but don’t like the weight, this amp should have attenuated bass; the Zendrive’s signature upper The Gen 15 has plenty of power for home, studio
you at least a little intrigued. mid voice came through loud and clear, with the and rehearsals. Even for small gigs, the Gen 15 will
Variously plugging in a vintage Strat, a Firebird Gen 15’s 12” handling it effortlessly; even with provide the kind of proximity level that will work for
V, an old 335 Dot and a Godin Icon Convertible, its broad tonal options, the Flux-Five core tone the player, then mike it up for the room. The Gen 15
the Gen 15 offered up some marvellous sounds. is that thick, vocal Boogie drive and the Gen 15 is, in its simplicity, a clever little amp that delivers
The Strat was throaty and woody, the Firebird was immediately transformed into a Mark-series the core of what we want: nice tone, nice gain,
was bright and punchy, the 335 had that lovely fat Boogie. Even cranking the DS-1 didn’t faze this little appropriate volume, and exceptional portability.
$TBC RRP
M
usician, comedian, voice actor, writer, master volume and tone pots. Each pot conceals you even step on your scooped-mid deathtone.
director, and all ‘round nice guy a trick, though: the volume control is a global But they’ll keep up with every nuance of your
Brendon Small has done so much for coil split push-pull, while the tone control also speed-picking, even under heavy distortion.
metal. His animated show Metalocalypse doubles as a KillPot switch for ‘stutter’ effects. Hit that coil split and you can play all of your
brought death metal to the masses, and his The pickups are a pair of Gibson Burstbucker Yngwie licks on the neck pickup, generate some
Baked live comedy/music shows, with Steve humbuckers made in the USA. These are based respectable alternative jangle on the middle
Agee and a cast of comedy and rock greats, is on the classic Gibson PAF humbuckers found in setting, and authentic country and blues twang on
a must-see if you find yourself in LA. He’s also late ‘50s Les Pauls, ES-335s, Vs, Explorers and the bridge pickup. The stutter effect of the KillPot
been responsible for some of Gibson and the like. The neck pickup is a Burstbucker-1, and switch is handy, too, especially for those Randy
Epiphone’s coolest models. The Snow Falcon is the bridge is a hotter Burstbucker-2. The guitar Rhoads and Tom Morello tricks. But depending on
Small’s second Epiphone signature model. comes in a Galaktikon gig bag and includes a how you play, it might be something you use a lot
signed certificate of authenticity. or not at all. Regardless, it’s a cool inclusion.
SNOW TROOPER
The Snow Falcon is a mahogany-bodied, BRUTALS THE BOTTOM LINE
mahogany-necked V designed to be versatile and The Burstbuckers aren’t super-hot pickups Besides its distinctive look – which will appeal
very playable. It has a 1960s Slim Taper D-Profile – they get their power from their clarity, as to all sorts of players regardless of genres as long
neck, which is very shred-friendly, with 22 opposed to getting it from their output. As a as they like white – the Snow Falcon stands out
medium jumbo frets on a phenolic fingerboard. result, this is a very flexible guitar that can do from its Flying V stablemates by way of its sheer
The hardware includes a fully-adjustable solid metal very well, but is capable of much, much sonic flexibility. It can do a lot of things that a lot
nickel LockTone bridge and stopbar tailpiece, more. This versatility is evident even before you of other guitars can’t, and it does them naturally
solid nickel heavy-duty ¼” output jack, Grover hit the coil split: the humbuckers can do country, and without fuss. It’s also a very playable guitar
Rotomatics tuners with 18:1 turning ratio, and blues, alternative, Britpop, punk and jazz before and built to a high degree of quality.
| australianguitarmag.com.au
95
$1,599 RRP
M
astodon guitarist and vocalist Brent matched by a pearloid headstock inlay. The body is is quite pokey in the upper mids (the Hammer
Hinds has an instantly recognisable bound in seven-ply black/white, the headstock in Claws also have a mid bump, but a less harsh one
style and sound. He’s used a variety five-ply and the fingerboard in one-ply. that still allows for great high-end attack). Even
of different means to achieve it over the years, The hardware includes an imitation bone so, these pickups have plenty of body and sustain
but his new Epiphone Flying V Custom signature nut, 22 medium jumbo frets at a 22” radius, thanks to that extra power, and 12k is pretty
model – announced last year and now hitting Epiphone LockTone Tune-O-Matic bridge and powerful for a neck pickup.
stores – is the most direct way yet for you to traditional V string-thru tailpiece, and Grover If your idea of ‘clean’ is sparkling clear, this
achieve that same sound and attitude. Rotomatics tuners with an 18:1 turn ratio. The isn’t the guitar for you, but if you’re into edge-of-
electronics consist of Hinds’ signature Lace USA dirt clean tones, this V has plenty of character. It
V INTERESTING Hammer Claws humbucking pickups connected also handles low tunings very well, and although
Ever since Tool’s Adam Jones popularised the to individual volume controls and a master tone shredders might not get along with the fatter
use of silverburst, it’s come to symbolise low knob. There are no coil splits or any trickery like neck in the same way as, say, an Ibanez Wizard
riffs and crunchy tones – sort of like a semiotic that to be found here. neck, it’s still very playable.
cue or visual shorthand of what to expect from a
guitar. Hinds’ signature model looks great, and HAMMER TIME THE BOTTOM LINE
is immediately identifiable. It has a mahogany The Hammer Claws are powerful pickups, with If you’re a Mastodon fan, this guitar is a no-
body with a mahogany neck, carved to a “1958” the bridge clocking in at 18.3k inductance and brainer. But it also has applications outside of
rounded profile which feels chunky and solid in the the neck at 12k. They’re very much full-range just, “I wanna sound like Brent.” It’s great for
hand. The neck is glued in and features an ebony pickups, a lot broader and more even-toned than metal, doom, classic rock and even punk, with
fingerboard with pearloid block inlays, which are co-guitarist Bill Kelliher’s ignature Lace set, which plenty of attitude and character.
A
udiofly are a relatively new Australian
headphone company. They pitch their
products as a meeting of audiophile
standards with a boutique hipster aesthetic. They
make the kind of headphones that would look
great on you while you tap on your Macbook,
sipping a long black and stroking your beard at
the cool café down the street. You’d be hearing a
signal in your cans as fresh as your look. Seriously
though, these are excellent design goals to have.
Much like the venerable Rode, Audiofly are
bringing a high standard to consumer electronics
and using local talent to do so.
The AF120s are a set of in-ear monitors, while
the AF240s are large over-ear headphones. We’ll
look at the ins and outs of both separately and
give you the low-down on each.
$299.99 RRP
AUDIOFLYAF120 IN-EARMONITORS
THE PERTH-BASED COMPANY’S HEADPHONES HAVE GOT THE LOOK, BUT DO THEY DELIVER THE GOODS?
BY ALEX WILSON
STYLE AND SUBSTANCE stem, making for a moderately annoying fix when response felt comparable, but the AF120s still
The AF120s come with a solid, canvas-covered replacing them. On the plus side, Audiofly are manifested a subtle spikiness that I couldn’t
travel case. It’s quite stylish, and served me well generous enough to provide an assortment of foam shake. This was especially apparent in genres like
on the overseas tour that I tested these monitors and rubber tips for the user to mix and match with. pop and metal that boost both the lows and highs.
on. It feels a bit harder to cram the headphones The pronounced clarity of the headphones felt like
into the case compartment than it should be, SOUND ON SOUND they unbalanced the mix a little.
but that’s not a dealbreaker. In addition to looks, Of course, the most important aspect of these
Audiofly have put a good amount of effort into the ears is the sound. If I could only choose one YOUR MILEAGE MAY VARY
feel of the product. The cable is coated in a strong single adjective here, it would be “crisp”. For the These are high-level nitpicks — important, but
woven fabric to prevent tangling. The Y-splitter price point, the ears reproduce the clarity and also subjective. Your own ears are the judge. If you
feels sturdy and can be worn comfortably down the presence of familiar tracks with aplomb. The can try before you buy any kind of headphone, you
chest or over the back, and the tightness of the fit stereo placement contributes to the feeling of should. Personally, the Audioflys would not be my
adjusted with a regulation clear plastic cylinder. All transparency and definition. Tom rolls, double- first choice for music production or appreciation,
par for the course, but done very well nonetheless. tracked guitars and backing vocals pop pleasingly but they are still strong contenders for these tasks
The earpieces themselves are satisfyingly in the side channels, and there’s powerful in an objective sense. Furthermore, they excel
ergonomic. I’ve been told by audiologists that I articulation in the centre of the soundstage. And as live monitors. The crispness of the sound will
have quite bendy and unsymmetrical ear-canals, these things feel loud, too. You won’t need to help your in-ear mix cut through, and the sturdy
and consequently have trouble with in-ear fits. crank the volume much to feel immersed in sound. comfort of the product really comes into its own
I was pleased to find that these Audiofly units Make no mistake: the units sound great on onstage. You’re getting a lot of the quality of a
entered and remained in my ears with minimum their own. But compared to my favoured personal custom mold without the price and hassle.
effort. The foam tips the unit came with helped in-ear in a similar price bracket, I had a few
with this, too. Foam fits better than rubber, but gripes. Low frequencies were reproduced cleanly THE BOTTOM LINE
tends to hurt the ear over long sessions. I was, and sufficiently in the AF120s, but still noticeably These would be a great choice for musos looking
however, disappointed to find that the foam on one less present than with my own. Consequently, for in-ears that would do the job onstage as well
of the tips started to break and peel away after the presence region of the Audioflys lacked the as during the downtime between shows. They look
two weeks. The tips appeared glued to the earpiece pleasant silkiness of the comparison set. Midrange great, are built to last, and won’t break the bank.
| australianguitarmag.com.au
| 97
$299.99 RRP
AUDIOFLYAF240 OVER-EARHEADPHONES
BIGGER BROTHERS, BIGGER SOUND. BY ALEX WILSON
T
he upsized sibling of Audiofly’s in-ears, the some of the midrange frequencies responsible for and I felt like the engineer’s subtle moves with
AF240s, excelled on first listen. A quick so-called ‘muddiness’ or ‘boxiness’. However, if the pan pot were reproduced faithfully here. And
comparison with some cheap Sennheiser this is indeed the case, it’s not at the expense of this applies across all bands of EQ. Things like low
HD202 cans revealed that the AF240s output a being able to bring warmth to playback. Some of bassline synths with stereo spread could be felt
relatively quiet signal. But as you crank the volume the mid-heavy ‘70s recordings I tested came out warping slowly across the ears.
to a comparable level, the frequency response beautifully from these cans.
of the AF240s really shines. The high-end of the BONUS ROUND
spectrum retains a tremendous amount of clarity, THE LOW-END THEORY In addition to excellent sound quality, the
and even aggressiveness when appropriate for The bass frequencies are presented clearly AF240 features the same strong woven fabric
the genre. Sibilant sound sources like vocals and and powerfully. Low-end instruments put out cable as the AF120s. There’s a built in mic, a
cymbals are reproduced with a smoothness that consistently strong notes while retaining the control button for playback, and a nice carry bag
sacrifices little of the presence required to enjoy a clarity needed to anchor a good recording. The to stop them getting dinged up. The headphones
great recording and performance. All this without AF240s seem to lack the heavy sub boosts that are also really comfortable, feeling great over the
ever devolving into harshness. many headphones have these days. There’s a ears for long sessions. Much like it’s little in-ear
Midrange is articulated very well, the body perception that bigger bass always means better, brother, style and coolness just reeks off of these
of music translating powerfully while avoiding but over long listens, the AF240s felt incredibly things. Designed beautifully, they’ll look classy
the mushy, inarticulate roar that so often balanced. The lack of sheer volume in the low-end resting on your dome.
characterises consumer-grade cans. This last led to a balanced listening experience where kick
problem is something that was very evident drums and bass guitars punch with definition and THE BOTTOM LINE
with the cheap Sennheisers I was comparing clarity and never felt unsatisfying. If you’re looking for headphones that sound
the AF240s to. It’s this midrange response that Not only is the frequency spectrum pleasantly as great as they look, then look no further. For
really indicates why it can be worth paying the reproduced, but the soundstage is also excellent. the price, the combination of fit, function and
extra couple hundred on a pair of good cans. Stereo separation is wonderful. The centre exists frequency response make the AF240s serious
It feels like there is some gentle attenuation of with clarity from the imagined centre of my head, contenders for audiophile buyers.
I’M ON A BOAT
MOST ARTISTS RECORD IN A STUDIO. OTHERS PREFER THE GREAT OUTDOORS. THEN THERE ARE BANDS LIKE
BUSBY MAROU, WHO LOOK FOR SOMETHING A LITTLE MORE NAUTICAL IN NATURE. BY PETER ZALUZNY
C
reative bands will find all kinds of clever David Ryan Harris, John Mayer’s guitarist – he was acoustics, and he let us use his guitars to record,”
places to record outside the standard sort of like my idol growing up. And Jon Hume, the Marou says. Their debut, as it turns out, was
studio. Garages, sheds, bedrooms, fields lead singer from Evermore, he co-wrote a couple recorded in Murray’s Byron Bay studio. “There was
and forests – musicians and microphones have of songs with us too! We didn’t keep ourselves in a a really nice, old, piece of shit Martin that we never
graced these locations at one point or another box, but we did set out saying that we didn’t want it play live because you’ve got to tune it for every bar,
with unique results. But boats? Or it was until to be a love song album.” but it’s one of those guitars that just sounds perfect
melodic folk-pop duo Busby Marou decided to take Hume wound up becoming an integral part of when it’s recorded. There’s some really nice old
their unrecorded third album, Postcards From The Postcards... Recording on a boat is cool and all, but Gibsons in there, too – I couldn’t tell you the year
Shell House, out to sea. it’s also pretty impractical. Some parts required a off the top of my head, but they’re vintage!”
“The Shell House is a place on Great Keppel studio, so the pair set off to The Stables, a setup Marou’s attitude to making music is so laid back,
Island [Queensland] and it’s one of the most owned by Hume on the outskirts of Melbourne, it’s almost perplexing. How can someone create
amazing places in the world,” Jeremy Marou recalls where things remained just as relaxed as they such beautiful, textured sounds that leap out of
fondly, speaking about working with his old friend were at sea. Where songs were once penned on the speakers, without knowing which guitars they
Thomas Busby. “We were in our space, fishing the fly and recorded as soon as they sounded used? That, however, is part of Busby Marou’s
during the daytime and recording at night on the good, Postcards... was the product of a purposely charm. While their music has the alluring – and
water. That’s an extremely tough way to record, prolonged writing process and longer, stress-free often calming – tone of tunes improvised around
but we seemed to make it work. We actually took stints in the studio. a campfire at dusk, everything is meticulously
a little studio, set it up on the boat and recorded “We’ve matured as musos, and we got the live crafted around their guitars then rehearsed to the
there. It doesn’t get much better than that!” [style] album out of our system,” he explains, letter, until they can pull it off onstage.
Look, odds are, Postcards... isn’t the first ‘boat referring to the Farewell Fitzroy sessions. “Even “A lot of people record the guitars, sing and
album’, but it’s a cool story nonetheless – one that things like, on the first and second albums, I then play with the sounds after recording,” says
was born from a desire to get off the road and would never use a plugin and record an electric Marou, “but we do it the other way around. We
just settle down for a while. Their second album, song, or even touch samples and loops. But now, make sure we find the perfect guitar sound first,
Farewell Fitzory, culminated in a recording trip to it’s like... Let’s be realistic, you can’t tell the acoustically, and then make sure it works with
North America just so they could say they worked difference [laughs]. So we weren’t always amping – the vocals. Then we add everything around that,
in a Nashville studio. And while the journey was sometimes we would just go straight into ProTools mainly because when we do them live, we’re an
all good fun, the pair weren’t tempted to run and pull down the plugins.” acoustic band – we’re two guitars – and even with a
across the world again. After giving themselves the Not only did Hume help write and record big band, we’re guitar driven.”
chance to slow down and take stock of everything Postcards..., he even let the guys use a few of his Amidst a world of change, there’s always some
on familiar soil, they found the confidence to move six-strings, including a big old Falcon that Marou old habits like this that just don’t die. But sometimes
forward creatively. seemed particularly chuffed with. Takamine it’s best to stick to your guns and return to what
“We co-wrote with other people this time, and we guitars handled the rest of the work, save for a few you know after pursuing the grand adventure. For
were kind of scared, y’know, because it’s a big thing moments that required that little extra something. Busby Marou, heading back to their homeland and
to throw your songwriting out there,” he explains, A little extra something that an old friend of theirs setting up shop on a little island off the coast of
although the writers they managed to wrangle put just happened to have on hand. Queensland was all they needed to move forward.
their nerves at ease. “One of my favourites was “Pete Murray has this really nice collection of old And by the sounds of things, it worked.
| australianguitarmag.com.au
LEGENDARY SOUND,
RIGHT OUT OF THE BOX.
BLX Wireless Systems Receiver options:
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