Review: Zoom R4 MultiTrak Recorder

The convenience of a high quality handheld multitrack recording device cannot be understated for the modern day singer/songwriter, content creator, production sound mixer or foley artist. 

Imagine if Paul McCartney hadn’t had the ability to rush down to Abbey Road when inspiration struck, quickly picking up a guitar or jumping behind the piano, the in-house engineer hitting record and voila, another Beatles hit captured just in the nick of time! The all too familiar story of songwriters having a melody, rhythm or whole composition just appear in their mind’s ear like dealing in a radio station for the idea to as quickly vanish and not having the ability to have captured it in time. You may be thinking “heard of Voice Notes buddy?” and whilst this is indeed true, how many of us really get to trawling through those countless Voice Memos and end up recording that track? Like really …? 

Read more gear reviews here.

I for one was lucky enough to just start getting into making music just before cassette recorders were deemed lame and making beats on a laptop was the only real way to make music. The process of recording to one track and dubbing onto another, making some feeble attempt at capturing some moment of inspiration was fun, exciting and kept those who enjoyed such times inspired to keep making music. Those were indeed the days. Fast forward at least a decade, and the iconic Tascam Portastudio and alike whooshed back into vogue. And whilst the process of using these classic units is certainly creatively a joy, the awkward size, inconvenience of being tethered to mains power, not to mention the vintage price tag can render them a little redundant when talking convenience and enhancing creative workflow. 

Zoom R4 MultiTrak Recorder

Zoom have been an unrivalled force in field recording and modern handheld recording devices for quite some time, with their H series being the standard for many a musician, content creator and film sound recordist. Looking at a way to enhance the creative workflow of users, the recently released Zoom R4 MultiTrak 32-Bit Float Recorder hits the proverbial nail for those in need of a recording tool that not only captures high-quality audio, but also requiring the ability to bounce down and continue building a track with more layers.

Very much designed as a tactile, hands-on recorder without requiring endless menu diving for simple tasks,  the R4 presents users with an innovative and easy to navigate front panel, with four individual faders dedicated for each of the four tracks you’re able to record onto. Once these four tracks are all taken up but recording isn’t quite finished, a quick balance, EQ and effects treatment (if required) of the current tracks can be done with ease to then conveniently bounce a mix to a virtual 5th track via the bounce button on the front panel. This then frees up the four tracks to continue building a song arrangement, sound design, or whatever content a user is creating. Taking a moment here to reflect on just how powerful this workflow is for a handheld device, it’s genuinely inspired how much this opens up possibilities for users to keep fleshing out ideas for their songs or content, without needing to dive in the DAW realm or otherwise – just a handheld recorder and their instrument or sound source of choice. Which brings me onto the options available for recording into the Zoom R4. 

Connectivity is simple with two combo XLR /¼” jacks available switchable between mic or line level. Channel one can also be switched to the built- in microphone if an external microphone isn’t required or unavailable. Recording instruments directly is also incredibly easy, sounding great straight off the bat, or if a bit more vibe is required, some sophisticated amp sims and preamp models are available on channel one. Add to this the built-in EQ, echo and reverb effects available on tap and you’re pretty well covered without even thinking about plugins or external processors, keeping users immersed in the creative process. If this processing power wasn’t quite enough, the built-in rhythm section of the R4 offers a wealth of 80 available drum patterns ranging from rock to funk, hip hop to heavy metal. These are ideal for simple practice or for enhancing an arrangement. 

The advantage of having 32-bit floating point technology on a handheld recorder is no gimmick but serves real world use and serves as a big part of the R4’s feature set, offering users a safety net from clipping audio, in case input gain isn’t set quite correctly. This is especially helpful when recording in less than ideal environments such as outside where unexpected wind gushes and other loud and unexpected sounds have the potential to ruin a recording by exceeding the dynamic range of the recorder and clipping the audio, something that production sound mixers, location recordists and foley artists will particularly appreciate, as well as musicians and songwriters who take to inspiration in the great outdoors. This technology is of course built-in to the Zoom R4 when used as an 2-in/2-out audio interface when connected to a computer or smartphone. 

The tactility, near endless potential track count (limited really only to the capacity of one’s storage device) and intuitive workflow of the R4 makes it ideal for a wide range of potential applications and user base. For those that enjoy a slightly more old school approach to recording workflow, without needing to dive into a DAW or even be near a computer, the R4 offers just the right amount of control and processing power to keep inspiration fresh and the creative process flowing. Married with high quality audio capture and the ability to mix and bounce and continue creating a fleshed out arrangement, there’s little that can be said the R4 isn’t appropriate for when looking at what a modern day handheld recorder can offer.

For local enquiries, visit Dynamic Music.

Preorder THE MINIMOOG BOOK, detailing 50+ years of electronic music history

Born in a pile of spare parts and rising to conquer the music world, there has never been any instrument like the Minimoog. Read the story of a musical icon, seen through the eyes of the engineers who built it, the artists who played it, and the visionaries who continue to support its legacy.

Earlier this month, Danish independent book publisher Bjooks revealed the title and topic of their newest music history deep-dive, THE MINIMOOG BOOK, which takes an extensive look into the journey of the Minimoog synthesizer.

“We’re pulling back the curtain on the history of one of the most iconic electronic instruments ever,” the author, designer, and electronic musician said of the storied monosynth. “The Minimoog’s significance is undeniable. This instrument was never restricted to just one type of music; it’s been used in jazz, rock, pop, experimental, etc. It was the first real, universally adopted synthesizer — and it changed the face of popular music.”

The book’s development — with more than 70 artist features, dozens of sound diagrams, and hundreds of historical and new images — has been in the works for over a decade.

THE MINIMOOG BOOK is a comprehensive look at the synthesizer that helped define modern music like no other. It blends thoroughly researched articles, exclusive interviews, and historical insights with never-before-seen photographs and schematics.

Throughout the book’s 368+ pages, readers will experience a deep dive into the history and mystery of the Minimoog, meeting the artists who have relied on its tone and character in their music from 1970 to present day. The secrets of the Minimoog’s unparalleled sound, the evolution of its manufacturing, and stories from the engineers who were there are now all in one place as a complete work for the first time.

Now available to preorder through Kickstarter, this release is a monumental one for Bjooks founder Kim Bjørn.

Review: Jackson American Series Soloist SL2MG

The Jackson American Series has seen the brand pump a considerable amount of effort into filling the gap between the Jackson Pro series import line and their flagship USA Signature, Custom Select, and Custom Shop models.

Jackson American Series

The American Series Soloist SL3 was the first off the mark, with the American Series Virtuoso following last year. Now in 2024, we have the next installment in the line with the Jackson American Series Soloist SL2MG.

The American Series Soloist SL2MG offers an alternative to the aforementioned SL3 model for players who want a neck-thru superstrat with an active dual humbucker layout as opposed to the SL3’s passive single humbucker, dual single coil configuration.

Additionally, the SL2MG also comes in a hardtail variant once again providing a solution for players who wish to get into the new Jackson American Series but have no need for any sort of tremolo system. This is a welcome addition to the line as there was previously no option for players who were in the market for a fixed bridge American Line Soloist.

Despite this fact it is worth mentioning that in this instance, we will be focusing on the Floyd Rose equipped model. This is what Jackson have been kind enough to loan us for the purpose of this review and boy oh boy—what an impression it has left.

American Series Soloist SL2MG

Upon removing the SL2MG from its Jackson Foam Core case I was immediately struck by the instrument’s vivid Lambo Orange Satin finish. A colour that will be sure to appease any fans of shred guitars’ 80s heyday, perhaps a direct homage to the origins of the Soloist model itself.

The finish itself is similar in feel to that of the satin-finished Virtuoso model and has been applied with care. After a thorough inspection, we weren’t able to find any flaws however it is worth mentioning that there are no gloss options like there was for the aforementioned Virtuoso model. 

In my personal opinion, I feel that this isn’t any sort of hindrance though as I quite like the feel, especially on the back of the neck. Some people may even argue that the satin finish may provide some benefits to the resonance of the instrument as it isn’t coated in a thicker polyurethane-style finish. 

The instrument itself is relatively lightweight, I would have no issue wearing the SL2MG for a long rehearsal session or gig. However, the SL2MG also  manages to feel substantial enough to not feel fragile or fall victim to the dreaded neck dive phenomena that can plague some guitars whilst worn on a strap.

Much like its other American Series brethren, the SL2MG boasts a nice 12”-16” compound radius, meaning the fretboard gets progressively flatter as you get higher up the neck. This fretboard radius lends itself extremely well to comfortable chording down by the nut and blazing leads higher up the fretboard.

Speaking of frets, this time around Jackson have opted to include stainless steel frets in the package. Stainless steel frets seem to be a feature that more and more players are seeking on stock guitars and as per always it’s great to see a large manufacturer like Jackson keeping their ear to the ground and actually giving working players what they want. 

The three-piece speed neck is a typical Jackson profile, essentially feeling thin but not too thin as to cause cramping in the fretting hand whilst playing chords for extended periods. I am usually not a fan of painted necks but the SL2MG’s satin finish means that this neck never feels sticky or slow avoiding a common ailment that occurs amongst some painted necks. 

A beautiful, dark ebony fingerboard, Luminlay side dots and graphite reinforcement round out the neck specs on this model. A stainless steel truss rod adjustment wheel ensures that making adjustments on the fly is no issue whatsoever regardless of where you are or what tools you have on hand. 

In terms of hardware, the Jackson American Series SL2MG houses the tried and true Floyd Rose 1500 series bridge. A common OEM piece that does a great job of holding tune even after the most vigorous tremolo bar use. 

Gotoh MG-T locking tuners

On the headstock, I was very pleased to find a set of Japanese Gotoh MG-T locking tuners. While the benefit of locking tuners on a guitar with a locking nut may be negligible these are high-quality units that will be sure to withstand the rigours of regular gigging and studio work.

In terms of electronics, we have the classic EMG 81/85 set which by this point have become somewhat of an institution in the metal world. A three-way switch and master volume and tone provide the SL2MG with plenty of versatility despite being a relatively simple setup.

My time spent with the new SL2MG was highly enjoyable, the guitar is simply a joy to play and delivers in all aspects that matter. From bone-crunching rhythm tones to the cleanest of cleans, this Jackson never misses a beat and always comes back for more.

All in all, the SL2MG is well worth looking into if you are in the market for a high-end superstrat. Jackson has gone all out to provide features that will meet the demands of the modern-day player and If things keep going this way I can’t wait to see whats next for the Jackson American Series.

For more info, visit Jackson Guitars Australia.

A new generation of KRK Rokit monitors are Rokin’ it

I don’t know how many of the first generation KRK Rokit 5 speakers I have seen and heard over the years, but it is a staggeringly high number. Since then, every generation has improved on the past with subtle updates. Now, the new Rokit Generation 5 jumps well ahead with an upgraded look, new amplifier design and quite possibly the best built-in DSP in its class. These are the studio monitors that all current Rokit owners will want to upgrade to!

KRK Rokit 5

Let’s start with the obvious change, the look. It’s been a slight shifting of cabinet angles over the years that has defined how we see the Rokit 5, but what I’m looking at now is in a whole new league. KRK have stepped it up with an entirely new cabinet design, both internally and on the surface. We’ve gone back to more of a block shape, yet still with soft curves on the sides to keep these looking sexy, whilst allowing sound deflection to be kept to a minimum. The front porting looks to be more of an organic curve, carved out of the housing in a minimal design concept. In short, these look about five times their ticket price. On top of that, both the tweeter and woofer are now protected by a black powder coated metal grill. This still enables the yellow cone to be seen, but mutes the tone slightly. Aside from the aesthetic it offers, the grills really excite me as I am not a fan of seeing tweeter domes pushed in by enquiring fingertips.

Read all the latest features, columns and more here.

TRS/XLR input

Now, once you’ve looked over the front, I am sure any curious mind, like mine, will turn the box around to see what’s hiding out back. This is where we get an idea of everything that KRK have going on with the Rokit Generation 5 monitors. And they’re not kidding around. Like the changes we saw in Generation 4, these are designed as a set-and-forget monitor, you have a combination TRS/XLR input, a power switch, a jog wheel and an LCD screen. That’s it. Gone are the dip switches. Gone are any unnecessary inputs and outputs. Gone are the Volume and Tone knobs of older models. With the jog wheel, you are able to set the volume, adjust the tone, and control a host of onboard DSP voicings and boundary tuning features. Once you’ve set these up for your listening space, you only need to worry about the power, and everything else is left untouched.

So, what’s under the hood? The new bi-amplified design offers a separate amplifier for both tweeter and woofer, with a total of 120-watts of Class D power. This has been designed to offer an absolute minimum of operating noise, whilst delivering more than enough volume for nearfield monitoring and critical listening. Furthermore, the separation of power between the amplifiers reduces the overall operating heat, removing the need for external heat sinks and allowing longer operating times without affecting the performance of the units.

What this all means is that you have incredible control over how your monitors operate in the space you’re using them. Firstly, the three voicings allow you to have the monitors set up for three different listening tasks. These are the Mix, Focus and Create modes that all deliver a different EQ and stereo spread to better enhance each of these stages of your music making. Whilst many will leave their monitors set to the Mix voicing, as they will be primarily used for mixing, it’s in the production, recording, editing and critical listening stages before the final mix that the other voicings will get a great many users excited. The Create mode offers a more dynamic, vibrant and lively sound reproduction so you can hear and get inspired by your music, and an ideal setting for casual listening when you just want to play your favourite music. When it comes to hearing vocals, the Focus mode emphasises the mid-range more, so they jump out in the mix. Both these modes are very handy for different situations in the production process before settling in for the precision of the Mix mode to polish it all off. In essence, this is like having three separate sets of speakers, all in the on pair of monitors. You just need to swap between the voicing mode to suit the task at hand.

The onboard DSP offers room control, so you can tame the space for that critical mix stage. There are 25 boundary and EQ combinations, to ensure you’re hearing the flattest response possible even after your immediate environment takes its toll on the sound. This is a wonderful tool for anyone setting up a home studio where the room may not be acoustically treated as well as a professional studio would. This is aided by the KRK app for mobile devices that allows you to properly tune your room so that you’re hearing the Rokit Generation 5 speakers at their very best. Think of the old KRK ERGO system that involved a reference microphone and a desktop hardware device connected to your monitor speakers at all times. Whilst a great system, it was an investment on top of your monitors and required additional hardware. The Rokit Generation 5 does away with the need for all those peripherals with the inbuilt DSP and KRK app. 

KRK app for mobile devices

The KRK Rokit Generation 5 monitors are a long way ahead of the humble origins of the original Rokit 5, which was a game changer in its own right. I think it goes without saying that you should hear a pair of these to understand that they are punching well above their weight. Get into your local KRK dealer and have a listen right away. I don’t think you’ll be disappointed. And best of all, when you get your own pair home, you’ll be able to set them up in your space to deliver the same quality of sound reproduction as you would expect in any professional environment.

For local enquiries, visit Jands.

Brainworx Studio Space streamlined by REDIacoustics NIRO Process

Brainworx have built a reputation in the industry for their skillfully designed plugins that recreate classic analog outboard equipment. Given that critical listening is essential to their plugin design process, Dennis Busch from Acoustic Spaces was commissioned to build a new studio control room in their Langenfeld, Germany headquarters that would prioritize ideal acoustic conditions and the ability to accurately listen from multiple positions within the studio space. To ensure that the new studio space was optimized for these needs, studio designer Dennis Busch partnered with acoustic research and software development company REDIacoustics™ and utilized their AI-driven software solution NIRO™ [Non-Cuboid Iterative Room Optimizer], to optimize the acoustic geometry of the new studio as well as design custom paneling for the ideal acoustic environment for Brainworx’s needs.

Read all the latest product & music industry news here.

Acoustic experience streamlined for a modern listening space

For more than a decade, REDIacoustics has been perfecting their AI-powered software solutions to streamline the design of recording studios and critical listening spaces around the world. When Busch presented them with the Brainworx project, it was a classic use case of NIRO’s usage within a nontraditional room shape. “The studio space was built within an existing 10x8x4m room and utilized a decoupled, Mirror-V shaped room with cinema seating at the back of the room in addition to the Engineers spot,” explained Dr. Peter D’Antonio, REDIacoustics Co-Founder. “The versatility of our tools and the opportunity to explore new possibilities enabled us not just to predict but to shape the acoustic landscape actively, ensuring every note and frequency is experienced as intended. The end result is a prime example of what the synergy between NIRO and TORA can achieve.”

“The flexibility provided by the designer truly allowed us to showcase the power of our optimization tools,” says Rinaldi Petrolli, the lead acoustic engineer of REDIacoustics. “From the outset, we were presented with the perfect scenario for NIRO: optimizing the inner room shell from the ground up. Our optimization process enabled the meticulous fine-tuning of the room’s geometry and the speaker and listening positions, establishing a solid acoustic foundation from the beginning. Following with TORA, we tailored the acoustical treatments to fine-tune the space, focusing on temporal decay and frequency response control. The installation of a 6 subwoofer array marked our final step, creating uniform low-frequency energy distribution across every seat.”

Keep reading about REDIacoustics here.

Electronic music innovator Jean-Michel Jarre is world’s first passenger in flying car

KleinVision’s AirCar took to the skies with electronic music pioneer, Jean-Michel Jarre as its first passenger this month, signaling a new era of transportation innovation. AirCar, which received the Certificate of Airworthiness in January 2022, has already logged an impressive 130 flight hours and over 520 takeoffs.

KleinVision flying AirCar

Read all the latest product & music industry news here.

“It is like being in a Jules Verne book, but for real! One second you speak to the driver, and next, you are up there in the air – an amazing experience!” said Jean-Michel Jarre after completing two flights in the AirCar at Piestany international airport.

Jean-Michel Jarre

The artist’s excitement was palpable as he marveled at the futuristic experience, perfectly reflecting the theme of his upcoming Starmus opening concert, ‘The Bridge from the Future’, powered by ESET, global digital security leader.

“AirCar addition to Starmus is a fantastic complement to our festival experience,” said Garik Israelian, PhD, astrophysicist at the Institute of Astrophysics of the Canary Islands and co-founder of Starmus, alongside Sir Brian May. “It mirrors the exhilarating journey we embark on, starting with Jean-Michel and Brian’s monumental concert that propels us to new heights, soaring alongside artists and inspiring thinkers like Jane Goodall, and coming back to Earth with the wisdom of astronaut Chris Hadfield once the festival concludes.”

Read more about Klein Vision and the AirCar here.

Gear Rundown: Nita Strauss

Los Angeles native Nita Strauss has become one of the most prominent names in contemporary rock guitar, regularly gracing the cover of multiple guitar publications. 

In 2018 Nita’s career hit yet another milestone as she was the first female in history to receive a signature model guitar from Japanese heavyweights Ibanez.

Read all the latest features, columns and more here.

Nita Strauss

Born into a musical family in which her father ran an active LA-based recording studio, Nita’s career initially started gaining traction in 2011 in which she was an active member of the famous Iron Maiden tribute-band The Iron Maidens. Before this, she had also spent time in the deathcore act As Blood Runs Black as well as modern glam rockers Femme Fatale.

2014 saw Nita’s career trajectory increase as she was recruited to be the house guitarist for Los Angeles Kiss, an arena football team owned by Gene Simmons and Paul Stanley of legendary 70’s hard rockers KISS. 

That same year Nita would be granted the opportunity to replace ex-Michael Jackson guitarist Orianthi in Alice Cooper’s live band, a position which she still holds to the current day. In 2022, Nita also split the difference by joining Demi Lovato’s backing band as a touring guitarist.

In addition to her work as a touring musician, Nita has established herself as a successful solo artist releasing her first solo album Controlled Chaos in 2018. In 2022, Nita became the first Female Rock Solo artist to hit #1 on the Billboard rock charts in 32 years. 

Throughout her career, Nita has also remained a formidable force when it comes to session playing and has collaborated with a plethora of other artists and organisations including Steve Vai, Joe Satriani, Lzzy Hale, Angel Vivaldi, and the WWE Wrestling Federation.

With such a storied career backing her, let’s take a look at the gear that has served as a vehicle for Nita’s blazing chops over the years. 

Ibanez Guitars

Nita has used Ibanez guitars almost exclusively across her career before receiving her own JIVA signature model back in 2018. Some of the Ibanez models that Nita has brandished throughout her career include:

Ibanez RG 770DX 

During her time with the Iron Maidens, before the development of her signature guitar, it was a relatively common sight to see Nita brandishing an Ibanez RG 770 DX in the classic Laser Blue colour-way.  

Initially introduced in 1991, the 770DX was considered a flagship model in the RG line, boasting custom-wound DiMarzio USA pickups, an original Edge tremolo and custom colour-matched inlays. This model was eventually discontinued in 1993 with a limited edition reissue being offered back in 2008.

Ibanez RGT320Z 

Nita has had a red RGT320Z prestige model in her stage rack during her time with Alice Cooper, with the Ibanez LA Custom shop performing some special modifications to her guitar including removing most of the finish from the back of the guitar neck for a smoother satin feel.

What makes the RGT320Z stand out amongst other RG guitars is the fact that it harnesses a neck-through design, mahogany body and AAA maple top. This makes the RGT320Z a desirable guitar amongst both players and collectors worldwide. 

Ibanez JIVA10

Since its release in 2018, Nita has had several JIVA models released by Ibanez with the most recognisable being the JIVA10. Borrowing heavily from the sleek S-Series body style, Nita has made a number of changes to this initial design in order to make it her own.

Amongst these design tweaks, Nita specified that the JIVA incorporates a Mahogany body with a Maple top, the Edge Zero zero-point tremolo system, and a sleek 5-piece maple and wenge neck with Luminlay side dots. Tied together with her signature DiMarzio pickups and “Beaten Path” inlay, the JIVA is definitely a shredder’s delight. 

Marshall JVM410H

Nita has made plentiful use of the Marshall JVM 410 stating that she had finally found an amp that services all her needs “From pristine cleans to crunchy rhythms and earth-shattering leads, Marshall has it all dialled in.”

This 4-channel 100-watt tube head has become a classic at this point, and it’s endearing to see its presence felt amongst working players over a decade after its initial release.

Boss GT-1000 Guitar FX Processor 

Nita makes heavy use of the Boss GT-1000 effects processor whilst playing with her solo band on tour. Opting to run the Boss unit into front of house makes for an easy fly rig that handles both her effects and amp sounds on a regular basis.

Kemper Profiling Amp

For all of her session work, Nita uses a Kemper profiling amp. She doesn’t use a profile of any specific amp, instead opting to profile the preamp patch from a Rocktron FX processor that she was using extensively before adopting her Boss and Kemper units.

She feels that by profiling and then tweaking the Rocktron profile, she has a signature sound of her own that isn’t directly derived from the more standardised high-gain heads that have come into prominence in both rock and metal circles.

DiMarzio Pandemonium Pickups

Nita’s signature DiMarzio Pandemonium pickups are a modern take on a classic rock sound. Similar to DiMarzio’s classic Super 3 pickup, the Pandemonium offers a slightly chopped treble response but also provides an emphasis on the lower mid and bass frequencies. 

This frequency curve ensures that the Pandemonium pickups provide a fat, punchy sound in double-locking tremolo-equipped Super Strat style guitars. They provide enough saturation for hard rock and metal applications whilst still maintaining clarity under high gain. 

Keep up with Nita Strauss here.

Review: MarkBass electric guitar strings

Guitar strings are a seemingly unexciting prospect, but ask a guitarist and they’ll gush about the strings they’ve been playing since day dot, the balance of their tuning of choice and the gauge of their chosen pack. They’ll tell you about the trade off between uncoated strings and the tone, at least for a fresh set, as well as how the coating has become an essential part of their playing style and feel, all the while retaining clarity, tone and the response of their guitar overall. MarkBass understand that it seems strings are actually an exciting prospect to most!

Known worldwide for amplifying the sound of strings, MarkBass have now announced their own range of guitar strings, again in varying gauges and with various coatings to satisfy even the most discerning player, and we put them to the test. We reviewed three sets, all .10-.46 and used on a guitar in E standard.

Read more gear reviews here.

A little known fact is that the region of Abruzzo in Italy is world-renowned for string making. According to MarkBass, the art of string making was born here, so what better place to go for your strings? MarkBass acquired D’Orazio strings, who are one of the historic Abruzzo string producers, and have been since 1859.

Legacy Nickel Plated Steel

Guitar strings are commonly made of Nickel Plated Steel, and the Legacy strings will feel familiar to all players. The 10-46 set is Legacy’s Medium gauge, with options ranging from Light in the 9-42 pack, up to Heavy Medium with their 11-49 set.

The Legacy strings feel classic, retaining good tension, as well as allowing for bends and vibrato with enough resistance that you won’t go wailing over the edge of the fretboard. The uncoated strings provide a bright snap, though not overtly harsh or bitey per se, they’re as classic a feeling set of strings as you could hope for, all backed by MarkBass’s decades of experience in providing quality tools to working musicians who need to rely on them.

Longevo Nickel Plated Steel with Nano-Film Shielded Strings

The MarkBass Longevo strings are where things really get interesting, Longevo translating loosely to long-lived, or denoting something that has a long life. The Longevo Nickel Plated Steel String set has a nano coating that, as transparently as possible, coats the strings and protects the winds from absorbing too much sweat and moisture from your hands, thus promoting longer life in your strings as there’s no build up of rust and mess over time. This gives you not only that new string sound for longer, but that new string feel.

The early attempts at coated strings, from multiple manufacturers, weren’t so successful, the coating affecting the overall snappy tonality of the string, as well as the strings themselves feeling more slippery than the uncoated nickel and steel we were used to. As coatings got thinner, these issues dissolved, and that’s exactly the tech that MarkBass have used for their coated strings.

The Longevo Nickel Plated Steel strings provided that same fresh string feeling, and continued to for some time. I’m using past tense for the purpose of this review, but truly they’re still strung on my guitar and haven’t begun to fade yet! While I could definitely feel the difference between the coated and uncoated strings, it’s not necessarily a bad thing. I felt a little less resistance friction sliding around the fretboard thanks to the coating, while fretting, vibrato and bends still felt great. Both the Longevo and Legacy strings held tuning with great accuracy, albeit with an initial good stretch when restringing. The Longevo strings remove much of the hassle of restringing, especially for those with enough guitars that some might not get played as often as they deserve!

Solo Stainless Steel

And now we’ve come to the Solo, and it speaks to MarkBass’ history as a company. They make products for everyone. What about those players that don’t like coated strings no matter how thin the coating is? Well, naturally corrosion-resistant stainless steel of course.

Stainless steel, unlike the nickel coated strings guitarists have used for decades, are immune to the rust, corrosion and other effects of whatever fluids end up on your guitar over the course of a gig. This gives them the feel of an uncoated string, but boast the ability to reduce the sound, feel and life of a string that’s breaking down every time you play it.

The Solo Stainless Steel Strings, again in 10-46, felt great. The exclusive corrosion-resistant alloy steel wire gives them a bright tone, while retaining a harmonically rich sound overall. The material captures all of your playing, but helps to tie together elements of tonewood and your pickup’s own unique voice into something entirely unique and cohesive. This is all to say that they sound great, and capture the essence of whatever guitar they’re strung on, all while preventing corrosion.

MarkBass have nailed this foray into the world of guitar strings, in part because they simply feel and sound great, but they have options available for different types of players who are pursuing different types of feel. All of this on the back of decades of innovation from MarkBass and, in their own words, “made in one of the best places in Italy”.

For local enquiries, visit CMC Music.

Denise Audio announce Motion Filter plugin

A reimagining of Denise Audio classic The Sweeper, Motion Filter is a state-of-the-art digital filter with two dynamic motion modes to liven up static sounds. It’s the second in a series of revamped plugins from the Denise lineup following the acquisition by Baby Audio in 2023.

Denise Audio

Filter sweeps are a staple of modern musical language and Motion Filter is flexible enough to create subtle movement that responds to your track’s dynamics, or sweeping tonal shifts that unfold over time.

Read all the latest product & music industry news here.

Motion Filter will make your mixes move. A re-imagination of our cult plugin The Sweeper, this gorgeous state-of-the-art filter can modulate in multiple dimensions to animate any sound. You’ll never reach for your static filter plugins again.

Sweep dull mixes to the side

From subtle motion to epic sweeps, dynamic filters play an essential role in modern music. Motion Filter is the fastest way to create them, offering an obstacle free workflow and pristine sound quality.

The plugin has two main modes:

• Sweeper Mode utilises an envelope follower to apply filter motion that follows your track’s dynamics.
• LFO Mode lets you apply pre-programmed motion patterns and sync them with your DAW.

At subtle settings, Motion Filter can replace a traditional static filter, adding just a touch of organic movement. At extreme settings, it can transform any sonic material into an ear-catching mix element. Use it in side chain mode to control the filter with external sources like a kick drum.

Keep reading or download Motion Filter here.

In Focus: Sound Radix Auto-Align 2.1

Time alignment is something we’ve discussed here at Mixdown before, even having reviewed the Sound Radix Auto-Align 2 plugin previously. Time alignment can elevate a good recording to something really special, the sound really coming into its own when every transient and waveform is perfectly aligned.

Read all the latest features, columns and more here.

Manual alignment is not impossible, but phase and waveform are fluid, at least in the sense that drums, speaker cones and singers are moving to and from the mic, albeit slightly! Even a millimetre can affect the phase relationship you’ve so delicately checked, so it makes sense to hand over the job to some more automatic technology. That’s where Sound Radix Auto Align 2.1 comes in, allowing the tech to analyse the input signal and optimise it more than manual, static alignment ever could. We previously reviewed Auto-Align 2, finding that manual alignment both yielded worse results and took much more time. In that sense, Auto-Align 2.1 is worth it! Auto-Align now sees an updated version in 2.1, available for free to all Auto-Align 2 licence holders… and if that doesn’t include you yet, there’s never been a better time to come on board!

Sound Radix Auto-Align 2.1

Sound Radix Auto Align 2.1 sees updates to both visible and invisible parts of the Auto Align 2 plugin. At its most basic level, 2.1 sees an improved core algorithm for processing audio, with workflow updates as well. Group Time Alignment can now be toggled, optimising phase correlation without adding any delay and further phase issues. 

Furthermore, you can now enable or disable spectral phase optimisation on a per-track basis within groups. For example, when auto-aligning an entire drum kit, this can be toggled per track. Polarity can now be flipped by group if needed, allowing you to check (and double check!) optimal settings. Auto Align 2.1 also now offers four preset slots to check and compare different alignments, ensuring you’ve got the best out of your recordings and the plugin’s processing.

Auto Align

Auto Align 2.1 also includes refined menu navigation, improved capture indicator and clearer invalid alignment notifications to ensure you don’t miss a thing! Along with all of this, the update has fixes for miscellaneous crashes, as well as improved and more consistent interfacing with different DAWs.

Broadly and commonly used for drums, Auto Align can help to tie together the 10 or so mics on a kit (emphasis on the ‘or so’ with some of us!) The bleed and spill from different spot mics can easily be out of phase with your carefully measured overheads and room mics, ruining the overall low end thump and clarity of the kit. A well time-aligned kit has better depth, clarity, width and punch than one that might be smeared by phase and bleed issues.

To retain the effect of the impact of your room mics, i.e. the additional time it takes for sound from drums to hit the microphones, you can use Auto-Align 2.1’s next/previous option that nudges a track around to predetermined correlation points. Harness the optimisation of phase aligned mics with the space and impact of big rooms!

What a lot of people forget, however, is the potential issues between the amp signal and the DI of a guitar or bass. With a guitar, you might be plugging into a DI box and recording that, while the ‘Thru’ signal from the DI is plugged into an amplifier’s input, it travels through the circuitry, is amplified, and then moves through a speaker cable to the the speaker cone, and even then, it’s oftentimes a few inches of air before the signal reaches a microphone (with a cable, and preamplifier) before it’s recorded. While sonically this all seems to be happening instantaneously, there’s a fraction of a second between the signals, notably when blended together and while not acutely out of phase, they can definitely be optimised! Grouping and aligning these tracks together with Auto Align, i.e. DI signal and recorded amplifier, can help to bolster the clarity and low end of your resulting sound overall. This is especially true for bass where it’s common practice to blend in a clean (or processed, you do do!) signal to an amplified and recorded sound.

This can be applied to just about anything recorded with more than one signal, i.e. anything with a DI box, direct output or multiple microphones! 

Auto Align 2.1 is an integral part of the engineer’s toolbox, improving on a previously manual process. Transients all landing at once improve clarity of a sound within the stereo field, while also extending the frequency response of the sound itself, and crystallising it within the space. Starting with the best possible sound only serves to improve your mixes after Auto Align has been applied.

While drums can benefit immensely (both sonically and figuratively), phase issues can also detract from other elements where it may be less obvious. Guitars, bass, vocals and keys are all often recorded with multiple mics, and the subtle shifting distances from source to mic adjust the phase relationship of these on playback. Push your mixes further when uninhibited by these issues for deeper bass and an overall clarity that can’t be achieved by any amount of EQ, compression or other tricks!

For more info, visit Sound Radix here.

Audrey Powne, From the Fire and the value of her education and musical literacy

Audrey Powne is forging her own path. With classical training behind her, she has a strong vision for whatever task is ahead, leading her as she navigates producing, playing, composing and being a session musician. Her new record, From the Fire, is out this week and we caught up with Audrey about her creative process!

Audrey, thanks for taking the time and congrats on the release of From The Fire! We understand you’re a bit of a multi-instrumentalist, how do you define yourself?

I’ve been a professional trumpet player for over a decade now and funnily enough trumpet is kind of my day job and how I pay my bills. I’ve been so lucky to play with so many incredible artists and bands as a trumpeter and I’m so grateful for the places, literally all over the world [that] my trumpet has taken me. In terms of myself as an artist though I identify more holistically especially with the release of this album. I really love producing/composing and arranging and hope to work more in that space on my own and other people’s music into the future. 

Audrey Powne

How and where did writing for From the Fire begin?

I started writing From the Fire during the pandemic. I had been living in New York from 2018-March 2020 and suddenly went from living in Harlem in the biggest city in the world, [working as] a professional musician, to living with my mum in her spare room a block away from where I went to high school.

Read all the latest features, columns and more here.

I had also quite recently been through a traumatic event whilst living in NYC and was still very much in the aftermath of that. I was obsessively watching the news in Melbourne as I think we all were, and a story came on about the beginning of regeneration and regrowth of native trees quite literally from the ashes of the devastating bushfires of 2019. I became obsessed with this idea of rebirth and rejuvenation and through the cathartic writing of this album I feel I was able to somewhat manifest my own rebirth, healing and regeneration into a new season of my life. I’ve never written anything so deeply personal. 

And more specifically, how did you write the album?

I write everything initially on the piano or keyboard without any other technology. Usually for me it always starts with harmony and chords/sounds I like before fitting them into a groove/time signature. I then will usually make a demo to show my band before the session, (using samples, mostly kits I’ve assembled myself from previous live sessions, I use an incredible plug in called XO to build kits and edit drum sounds) and these days I basically always use Logic or very occasionally Pro Tools. I also write detailed charts for all my tunes. I come from a classical/jazz background and I really value my education and musical literacy, being able to write charts is just a great way to communicate making rehearsal and sessions easier and smoother and saving a lot of time. For this record I also demo’d all the strings. I started in Logic using the Abbey Road Strings sample pack which I love using and then charted and edited in Sibelius ready for the session with the quartet. I find pre-production really important, the more you can do before a session the better in my experience to get the most out of the amazing musicians I’m lucky to play with. As a session musician myself I know the frustration of a disorganised session and I don’t want to inflict that on other musicians whose time and energy I value. 

Sing Sing Studios

Why did you choose Sing Sing Studios in Melbourne?

I had a relationship with Box Hill institute where I ended up teaching for a few years. Before I started teaching there I was part of an incredible program where I mentored groups of students as part of the “Creative Cup” where each group completed a song in one week, mixed and mastered. I loved being there with the students and watching them go through the entire process of producing a song which helped me to reflect on and develop my own processes. In lieu of payment for this mentoring, the institute rewarded me with studio time, four days in the excellent studio which was invaluable for me at the time, to have that much time and space in such a big studio. With my incredible engineer, Russell Fawcus, who I sought out knowing he had previously worked extensively at the old, legendary Sing Sing Studios in Melbourne we embarked on some epic set ups, especially on the drums. We really made the most of the size of the room capturing a lot of room sound as well as close mic-ing everything.

How do you feel as a producer of your own record?

Honestly being able to say I composed and produced this record myself is one of the proudest achievements of my life. To be honest, gender was a huge factor in my decision to self-produce. Production is still an incredibly male-dominated space in the music industry, and I find that if you don’t explicitly specify the technical things you do on your own records as a female artist, there is more often than not an assumption that it was a man or there is some genius male producer behind the scenes. I knew I had the knowledge and ability to produce my own record as a highly-trained musician and I’m glad I challenged myself to do so. It was also an incredible feeling to maintain complete creative control, this record really is my vision. I hope the production on the record stands to demonstrate my abilities in this area as I loved doing it so much, my new goal is to work with other artists, hopefully younger female artists to empower them in this space to move towards producing their own music and gaining more technical knowledge of the record making process. 

What challenges did you have producing your own album? Maybe some advice you can offer to people wanting to do the same?

I think knowing what you want it to sound like is really important. Having a strong idea of what you’re trying to achieve, conceptualising a sonic identity for your record is a really strong and I think important thing to do. I also really believe in research, both through listening to great sounding records and also reading and finding out about other people’s processes. For From the Fire I was really inspired and deeply studied my favourite album of all time What’s Going On by Marvin Gaye. I hesitate to mention my record in the same breath but I was inspired by the way this record transitions between tracks and really feels like one work with a strong sonic identity encompassing every track on the record. I utilised instrumental interludes (“Interlude 1”, “Interlude 2” and the “Overture”) to introduce and re-introduce instrumental themes and harmonic structures present in other tracks.

Compositionally I used the strings to introduce the melodic themes of the record. When recording the strings I did some research into how best to do this, we used a lot of room mics as well as close mic-ing and overdubbing the quartet multiple times to create the sense of a small string orchestra rather than a quartet. These techniques I discovered through my life long love of the Beatles and consistent fascination bordering on obsession with how they made their seminal records. That was a bit of a tangent haha basically do your research I guess and listen intensively to great records.

Thanks again for your time! As a closer, surely you’d have some stories about making From The Fire?

Well … we certainly did. There were lots of pandemic interruptions and whatnot but to end on a great story which is my favourite tidbit of the record haha …

I recorded Matt Keegan’s incredible Baritone Sax solo on “Souled Out”, the final track on the record while I was touring with Jimmy Barnes. We were both in the horn section for the 2022 Soul Deep national tour and I bought my Electro-Voice RE-20 (my favourite mic, also what I recorded all my vocals and trumpet on the record) and we recorded it backstage in a little dressing room. When I was editing in the stems in isolation I could hear the faint sounds, or screams haha of Jimmy warming up backstage in another room, Jimmy would often walk around backstage singing, warming up his iconic voice haha so buried deep, deep, deep in the background of the tune is a Jimmy Barnes Howl haha!

Keep up with Audrey here.

Want the chance to win a Fender Strat?

Fender has today announced the “Show Us Your Strat®” 70th Anniversary Strat Giveaway—a celebration of seven decades of the iconic Stratocaster®! Join them for six weeks of excitement as they give away 70 Player Strat guitars in the special Anniversary 2-Colour Burst finish to our email and Instagram communities.

Read all the latest product & music industry news here.

Fender Stratocaster

Here’s how your readers can enter to win:

• Registering on the Sweepstakes site () (1 entry)
• Participating in weekly prompts on Instagram (@fender) where Fender will encourage our community to share their own Strat stories, fan art, and more using the campaign hashtag (up to 6 additional entries)

More than just a giveaway, “Show Us Your Strat®” is a testament to the enduring legacy of the Stratocaster®, bringing players together to celebrate their musical journeys and the timeless impact of this first-class instrument. Fans are encouraged to join the festivities and make their mark in the history of the Stratocaster®. April 22-June 2. Winners will be selected in June 2024.

Participating regions include: United States, Mexico, United Kingdom, Germany, France, Japan and Australia.

For local Fender enquiries, visit Fender Australia. Who wouldn’t want a free guitar?! Sign and keep reading here.

First Look: Tone City pedals

Having become quite well known for for their small footprint 1590A pedal enclosures such as their little green Tape Machine, Golden Plexi 2 distortion and Tiny Spring to name but a few, Tone City have more recently been venturing into dual stompbox territory, with a family of dual circuit and/or tone stack type designs, with three new members to add to their already impressive array of tone machines.

Tone City guitar pedals

Read all the latest features, columns and more here.

Revered for their quality, tone and very appealing price point, the three new Tone City pedals named Heavenly Lake, Holy Aura and Big Rumble each bring their own sonic flavour to the table, with an offering of reverb, delay, overdrive, distortion and boost, so let’s dive in.

Heavenly Lake

Drawing inspiration from their popular Tape Machine and Tiny Spring, the Heavenly Lake dual reverb and echo pedal builds upon these already great circuits, bringing some fresh improvements to controls adding decay and tone adjustment to the reverb side of the pedal and new analogue tones and newly designed modulation section with rate and depth controls for the echo.

The reverberation creates spacious depth, dimension and airy soundscapes whilst retaining that distinct springy-like quality to the decay of the reverb, with some distinct modulation inherent in the decay. Dialling up the wet and decay controls doesn’t get out of control but rather just adds a nice space around the notes without getting in the way. The tone controls take things from typically dark timbres that springs are more known for but can be dialled in to be brighter if required.

The analogue vibe of the delay side of the Heavenly Lake ranges from subtle bucket brigade style darker trails right through to full on psychedelic mayhem, in the best possible way. Bend pitch by adjusting the time and space things out with the mix control. Getting even deeper with the depths and speed controls of the modulation section or go full psych mode pushing the echo into self oscillation diming the repeat control. Combining the two sides of the Heavenly Lake makes for some lush soundscapes or just some subtle verb and delay. Everything’s on tap and sounds great, especially given the very reasonable price tag.

Big Rumble 

From subtle “edge of breakup” through to raucous, crunchy, clipped overdrive, the Big Rumble has a nice broad palette of overdrive tones on tap with a heap of controls available for precision tone dialling. Switching between the jazz and rock circuits gives users the immediate flexibility of bright shimmering like drive through to smooth creamy heavy blues type drive – classic Skynyrd tones for days. 

Focusing on just the drive part of the circuit, the one knob has a surmising wide range of tone available, particularly when used in conjunction with the jazz/rock switch. The attack knob adds some more control over the roundness of tone from punchy attack through to wall of sound saturation. Where things get particularly interesting is the clean side of the circuit, essentially giving Big Rumble the ability to blend in clean tone parallel to the overdrive. This can make for some interesting tone stack effects, where one can really crank the overdrive into a more exaggerated overdrive then subtly blend the clean tone back into the signal for more note definition and detail. Adding to this the switchable 20dB boost separate from the drive circuit but positioned in front allowing for more tonal possibilities when both drive and boost are engaged. Big Rumble is right – plenty of tone available at even higher volumes if and when required. 

Holy Aura 

The Holy Aura is Tone City’s equivalent to a classic ‘67 Chevy – far from subtle with plenty of high octane muscle. A USA inspired high gain distortion with a 20dB boost to match, the Holy Aura strikes to perfect balance between tonal flexibility and control. With a refined 3-band EQ of bass, mid and high, presence and tight controls as well as the expected volume, gain and boost controls there’s a huge tone stack again here and sounds just massive. Reminiscent of classic high gain amplifiers designed for really moving some air, even just running the everything set to 12 o’clock, the Holy Aura is simply commanding. 

The 3-band EQ is incredibly powerful giving the Holy Aura ability to range from classic scooped metal tones through to cranked top end with rolled off lows and pretty much everything you’d need from a high gain distortion pedal in-between. The gain on tap here is wild, absolutely not subtle and really is a high gain amp in a box. The presence and tight controls add in that extra level of tonal control that a lot of distortion pedals simply don’t offer, making it a great choice for both stage and studio when more refined control is required. The boost control whilst more subtle when engaged with the distortion circuit certainly has its place as a clean boost on its own, which is a great addition to any pedalboard. 

Three distinct flavours of effects in a dual stomp box footprint, Tone City have introduced some exciting tonal flexibility from the time based Heavenly Lake through to the overdrive bliss of the Big Rumble and the full throttle distortion madness of the Holy Aura, literally every gain stage is covered, with some luscious airy soundscapes to taste. An exciting expansion to their already wide range of pedals, Tone City have struck gold once again!

For local enquiries, visit EGM.

Review: Audient ORIA Immersive Interface and Monitor Controller

The foray into immersive audio can be a daunting and expensive undertaking, the most popular format being Dolby Atmos. While Atmos is technically headphone compatible, the real benefit and immersion is said to be best achieved with at least a 7.1.4 system, i.e. 7 floor channels (front, back and side speakers) and 4 height channels (i.e. ceiling speakers) along with a subwoofer/LFE (low-frequency effects channel). From the sheer number of monitors required to the logistics of bass management and monitor control, the setup can be quite complicated to get started. Audient’s new contender to wrangle this conundrum is the Audient ORIA Immersive Interface and Monitor Controller, a 16 speaker output USB audio interface specifically designed to simplify and address issues that come with such a high channel count of monitor speakers.

Until now, early adopters of Atmos will have encountered a hurdle in the need for something as simple as changing the volume of 12+ channels of studio monitors uniformly and simultaneously.  The most accessible and inexpensive version is to use a hi-fi receiver, however this option leaves the user stuck with unbalanced -10dB line-level making it a hassle to interface with +4dB line level balanced studio monitors, while the professional studio options jump quite considerably in price. The ORIA is a very welcome addition to the landscape, as it not only provides the option of a fully optimised monitor controller, but can also act as the audio interface completely, and has the added bonus of built in equalisation, time delay and bass management for each individual channel.

Audient ORIA

The unit also features two onboard mic pres on the front of the unit, which can double as high impedance instrument inputs. If more inputs are needed there is the possibility of a further 16 inputs via ADAT, as well as an optional Dante port for even more input options. Connection to studio monitors is via TRS 6.5mm sockets on the back of the unit, of which there are 16 for full surround sound duties, plus two additional stereo pairs for alternative L/R monitoring. Furthermore, the ORIA features 16 channels of AES outputs via DB-25, perfect for plugging straight into studio monitors that feature a digital input, negating an unnecessary digital to analogue and analogue to digital round of conversion. Rounding out the I/O are two headphone ports on the front (which can each each be routed to their own discrete inputs) word clock input and output, and of course the USB-C port for connecting to a computer (which can be used as a USB-A 2.0 device) on the rear.

Pulling the unit out of the box reveals a smart, sleek unit with backlit buttons and a nice multi-display, which won’t look out of place in any rack of gear. The unit cheerily displays “Dolby Atmos” upon startup, and then defaults to show the monitor outputs for the surround channels.

Getting started was very simple, fortunately for Mac users setup was a matter of plugging in the ORIA and loading up my selected DAW, while Windows users will need to install a driver before getting started. Having said that, it is recommended all users install the Monitor Controller software to reap the full benefits of the system, and the real engine of the ORIA’s options for EQ, bass management and channel delay.  

Upon loading up I was advised by the software to update the firmware on the device, and this was as simple as hitting the ‘OK’ button and waiting a few minutes while the update was delivered. Once that was completed I restarted the unit and we were in business!

The ORIA software gives a clear and easy overview of the studio layout, as well as easy options for different room profiles and metering, with the floating meter window option being very convenient. In the Setup page, clicking on any of the speaker icons in the “Room” screen gives the user the option to apply up to 8 parametric bands of eq plus a high and low shelf, as well as crossover point and time delay. With such a number of monitors around the listener, these options are hugely important in immersive audio, to ensure an equal distance and even panning is achievable as objects move around the listener. With the use of time alignment, one can push speakers “further away” by delaying certain channels that might otherwise be too close in a room not be perfectly shaped for Atmos’ regulations. Audient have made what can be a complicated and confusing setup quite compact and simple in the layout of this software.  

Other great software features are the inclusion of solo buttons for different groups of monitors, which is great for quickly checking what the overhead or LFE/sub channels are doing on their own, pre or post EQ metering, monitor DIM and phase flip buttons.

Sonarworks Monitor EQ software

Also included is a measurement microphone, which should be used to measure each individual channel’s frequency and time alignment to achieve maximum accuracy and optimised monitor placement, plus if the user wished to take things further there is a discount provided for the even more customisable Sonarworks Monitor EQ software.

The Audient ORIA has really filled a hole in the dilemma of immersive audio setup, and with this box Audient have provided both a starting from scratch audio interface, to a monitor controller that can fit with many pre-existing studio setups. With the inclusion of individual EQ, time alignment and bass management, the ORIA is a great option for taming the Atmos beast.

For local enquiries, visit Studio Connections.

Fixing what ain’t broke with the Shure MOTIV MV7+

It’s really tough to stand out in a product category like USB/Content mic which is well and truly having it’s time in the sun but alas, Shure’s MOTIV range is elevated to new heights with the Shure MV7+. Building on the accessible, pragmatic and great-sounding MV7, with both XLR and USB connectivity depending on your needs. For content creation, music making, podcasting and other audio-focused mediums, portability can be a really tough area to excel in, as practical and portable solutions usually sacrifice sound quality, while good quality sound usually isn’t super portable. I say usually because, Shure have done it, haven’t they?

Dialling gain, adjusting settings and all the while capturing great audio can be a real challenge at the best of times. Pursuing great sound can sometimes ruin the flow of a session of interviews, songwriting or otherwise, undoing the point of any amount of perfectly adjusted audio you might’ve managed to set.

Read all the latest features, columns and more here.

While borrowing heavily from one of the most famous mics of all time, the classic Shure SM7B, the MV7+ bears more than a passing resemblance to its famous cousin, the iconic broadcast-like design proving that Shure sure knows how to design a mic.

The MV7 came before it had dual XLR/USB outputs. The MV7 was specifically designed as a multi-purpose, one-stop mic for the streamlined, digital generation, something that the MV7 and now MV7+ excel at.

Shure MOTIV MV7+

The MV7+ features the same high-quality audio components that make all of Shure’s microphones so great. What the MV7+ adds, is a Multi-Colour LED Touch Panel for use as either an audio meter or simply a cool, vibey light show. The LED panel also serves as a mute, allowing you to quickly, silently and efficiently mute your mic. A 3.5mm headphone jack on the back of the mic allows you to monitor directly from the mic, as well as control and dial in your monitor mix in the MOTIV Mix app—but more on that later!

All in the interest of providing great quality, consistent audio along with the easy-to-use mute button, the Shure MV7+ also includes a live Denoiser that uses DSP to do away with ambient noise from your environment. This, coupled with Shure’s Voice Isolation Technology, provides crystal clear sound in just about every environment.

To elevate this further, the mic includes a virtual pop filter, designed to reduce and remove plosives that can be distracting to listeners, while improved Auto Level Mode adjusts gain based on location of source and constant detection to make sure you’re sounding your best no matter how animated you become. Onboard reverb can give a little ambiénce, or overt cavernous overtones—it’s up to you! There’s three reverbs available, with Plate, Hall and Studio at your disposal.

Increasingly accessible tools are what elevates Shure beyond a humble microphone company, providing traditional microphones for studios, live performance and public address, but also incredibly easy to use for those diving into audio production for the first time – whether that be songwriting, podcasting or otherwise, without the need for a YouTube tutorial rabbithole, higher education diploma or a call to tech support! The Shure MOTIV range makes it easy, packing a whole lot into a tidy, professional looking pack, ultimately in the pursuit of world-class sound in the easiest way possible.

Finally, connect in whatever way is most convenient with either XLR or USB-C. XLR works well as a more permanently set-up style of recording, whereas USB-C is great for portable recording on-the-go.

MOTIV Mix

As if the features available on the microphone itself weren’t enough, Shure also has the MOTIV Mix app available to mix, process, refine and finish your recorded sound. The MOTIV Mix app is available on desktop, and designed for both micing and streaming, allowing you to route signal wherever you need it to go in one spot, as well as quickly mute, monitor and record.

MOTIV Mix is designed to tie together everything you need to reduce mental clutter as well digital process power! Access dynamic control like a compressor and limiter, EQ and tone for your Shure MV7+.

The Shure MV7+ is proudly carrying the flag for Shure, elevating everything that the MV7 is and was: a well-designed broadcast style mic that both looks great on screen as well as sounding great through and through. The MV7+ features enough control on board to get you up and running, the LED strip now helping you to visually monitor on the unit itself as well, the headphone output allowing you to physically monitor.

Shure’s MOTIV Mix app provides access to routing, levels and control with effects like compression, limiting and EQ if needed, though the sound of the MV7+ is stellar, the virtual pop filter and DSP processing for Auto Level Mode and an onboard Denoiser ensure you’re sounding your best.

All in all, the Shure MV7+ … well, it does it all. Equally suitable as a handy mic to have around as your needs grow as it is your first foray into professional microphones. Handling conversion as well as audio processing, the MV7+ can have you up and running in moments, and sounding great to boot. For a figurehead of the audio industry, Shure only have their own designs to compete with, but they’ve outdone themselves on the Shure MV7+.

For local Shure enquiries, visit Jands.

Check out the strictly limited Rhodes MK8 Earth Edition

Rhodes are thrilled to announce the launch of their latest creation, the Rhodes MK8 Earth Edition. The Earth Edition will go on sale on Thursday, April 25th, at 9 PM BST/4 PM EST. The Rhodes Earth Edition operates on a strict first-come, first-served basis. Act fast to avoid disappointment and secure your spot in line.

Read all the latest product & music industry news here.

Fashioned from American Walnut, the piano’s sandblasted wooden base and hand turned legs accentuate its natural grain, showcasing each instrument’s unique, inherent beauty. Metal parts are adorned with a custom stable rust effect coating, ensuring a distinct pattern on each component for a truly one-of-a-kind look.

Custom inlays and side panels, enhanced with black dial inserts, add a touch of sophistication to the aesthetic. Exclusive to the Earth Edition, the piano’s unique Forest Green hood and pedal cover infuse a natural style into its design. Additionally, the integrated FX section comes standard with the Earth Edition, enhancing its sonic capabilities.

Sustainability

At Rhodes Pianos, their dedication to sustainability extends beyond aesthetics. From eco-conscious packaging, including recyclable inner and outer boxes and cardboard pallets, to their use of recyclable packaging foam and sustainable piano lid made from recycled ABS, every detail reflects their commitment to minimising their environmental footprint.

All wood used in the MK8 Earth Edition bears FSC (forest management certification), ensuring responsible sourcing and forest preservation. Additionally, all metal used is recyclable, further promoting resource conservation.

For more info, watch the launch video here.

10 pedal steel guitar players you should know

Sounding like a choir of crying angels and notoriously hard to master, the pedal steel guitar is a deeply complex instrument that defines the sound of country music as we know it. 

Pedal steel guitar

Here, we list ten players that are foundational to the evolution of the instrument and are essential to forming a knowledge of its fascinating history. 

Alvino Rey

Alvino Rey was a respected jazz musician, bandleader and inventor who found fame during the swing era. As well as having designed a prototype pickup for Gibson’s first electric guitar and an early version of the ‘Talk Box’ effect, Alvino Rey is credited with the invention of the pedal steel. Rey, standing virtually alone as a proponent of the steel guitar within the big band world, worked with Gibson to create the Electraharp in the late 30s, the first steel guitar to feature a pedal mechanism. Rey was a virtuoso on his instrument of choice and paved the way for every pedal steel guitar player that came after him. 

Read all the latest features, columns and more here.

Bud Isaacs

In 1954, Bud Isaacs made country music history, becoming the first person to play pedal steel guitar on a hit record. Along with fellow steel guitar players Speedy West and Noel Boggs, Bud Isaacs received one of three pedal steel guitar prototypes made by pioneer Paul Bigsby in 1948, which he famously put to work on ‘Slowly’ by Ed Pierce. ‘Slowly’ changed the Nashville sound forever, sending legions of steel guitar players into a frenzy as they tried to figure out how to emulate Isaac’s pitch shifting effect, cementing the pedal steel as a cornerstone of country music. 

Buddy Emmons

Buddy Emmons received his first lap steel guitar at the age of eleven and between 1956 and 1962, went on to revolutionise the budding pedal steel guitar design via two key innovations. Emmons split the function of the two pitch-shifting pedals, creating what is now the standard pedal arrangement in the E9 tuning and added two additional strings to the instrument’s upper register. Emmon’s innovations allowed for greater musical flexibility and tuning stability, which he first demonstrated on Ernest Tubb’s ‘Half a Mind (to Leave You)’. Emmons went on to sit in with artists such as Linda Ronstadt, Gram Parsons, The Everly Brothers, Roger Miller and many more. 

Ralph Mooney

Trusty sideman to perhaps the greatest country star of them all, Waylon Jennings, Ralph Mooney was brilliant musician and perhaps the most quintessential pedal steel player of them all. Before his twenty year stint with Jennings, Mooney helped define the Bakersfield Sound on records such as Wynn Stewart’s ‘Wishful Thinking’, Buck Owens ‘Under Your Spell Again’ and many more. Mooney’s soulful touch, melodic sensibility and mastery of his craft continues to be renowned in the country world and his influence cannot be understated. 

Pete Drake

Pete Drake was a Nashville-based record producer and pedal steel guitar player who became one of the most in-demand session men of the 1960s. Influenced by Alvino Rey, Drake was an innovative user of the ‘Talk Box’, an effect that would go on to be made famous by guitarists such as Jeff Beck, Peter Frampron and Joe Walsh. Aside from his own ‘Pete Drake and His Talking Steel Guitar’ record, Drake was known for playing on such records as Tammy Wynette’s ‘Stand By Your Man’, Bob Dylan’s ‘Nashville Skyline’ and George Harrison’s ‘All Things Must Pass’. Traversing several eras and genres, Drake’s beautiful playing remains a timeless high water mark for steel players everywhere. 

Lloyd Green

Throughout the 60s and 70s, Lloyd Green’s stint as a member of Nashville’s ‘A-Team’ crew of elite studio musicians earned him an expansive list of credits that is virtually unmatched. A child prodigy, Green began playing the lap steel at age seven and became the literal poster child for the Oahu Music Company at age ten. Upon the rise in prominence of the pedal steel, Green improvised his own instrument, famously altering his lap steel with an accelerator pedal from an automobile. Aside from playing with a myriad of other stars, Green’s crowning achievement was his brilliant, game changing performance on the highly influential masterpiece ‘Sweetheart of the Rodeo’ by The Byrds. 

Red Rhodes

Rhodes was a legendary steel player that found success in Los Angeles in the 1960s. After a storied life as a boxer and an oil company engineer, Rhodes found his calling as a musician and played on many definitive rock, country and pop records as part of the famous ‘Wrecking Crew’. Working with artists including The Ventures, The Byrds, Mike Bloomfield, James Taylor and the Beach Boys, Rhodes quickly became known for his tasteful playing and adaptability across genres. Rhodes is best known for the ‘other-wordly’ sounds he created on his instrument for the Ventures, a definitive moment in pedal steel history. 

Sneaky Pete Kleinow

‘Sneaky’ Pete Kleinow was a California-based steel player who rose to prominence in the Country Rock wave of the late 60s and early 70s. As a member of the Flying Burrito Brothers, Sneaky Pete was intrinsic to the melding of country, rock and roll and psychedelia that influenced countless acts that followed. Famous for his unorthodox playing style and use of effects such as fuzz and delay, Sneaky Pete was a revolutionary player that helped to modernise the pedal steel and maintain its relevance in the era of classic rock.

Paul Franklin Jr

A true musician’s musician, Paul Franklin is renowned amongst pedal steel players as one of, if not the best to ever do it. The word prolific doesn’t quite encapsulate the more than 500 albums that Franklin has graced with his expert playing as a session man. Aside from playing with artists such as Dire Straits, Shania Twain and Vince Gill, Franklin is also credited with inventing the ‘Pedabro’, a hybrid between a dobro guitar and a pedal steel. Additionally, Franklin also created the first baritone steel guitar, the strings of which are tuned an octave lower than a typical pedal steel. 

Robert Randolph

Robert Randolph is a modern day virtuoso who popularised the use of pedal steel in Pentecostal Gospel music. Known as ‘sacred steel’, pedal steel is a prominent feature in many African American church bands, something that Randolph took to at a young age. Today, Randolph and his Family Band have become a staple of festivals around the world and Randolph himself has been listed by Rolling Stone as one of the greatest guitarists of all time. Randolph’s modern, effects-driven sound and blindingly adept musicianship is a huge factor in the relevance of the pedal steel today, helping to transcend the instrument’s typical role within country music and introducing it to a brand new generation. 

Read more about the early days of Gibson here.

BICSI to join forces with Integrate and the Security Exhibition & Conference at the ICC Sydney

Integrate and the Security Exhibition & Conference, the premier events for the AV technology and security industries, are set to take place at the International Convention Centre (ICC) Sydney from August 21st to 23rd.

Read all the latest product & music industry news here.

Soren Norgaard, Event Manager, Commercial Product Manager for Integrate and the Security Exhibition & Conference expressed his excitement about this significant development. “We are thrilled to announce that BICSI will be joining us at the ICC Sydney this year. The synergy between our events and BICSI’s commitment to advancing the ICT industry makes this collaboration truly impactful.”

BICSI South Pacific’s decision to run its conference alongside Integrate and the Security Exhibition & Conference marks a first in the industry. This strategic alignment is seen as a natural fit, fostering an environment where professionals from various sectors can converge to exchange insights, explore cutting-edge technologies, and cultivate meaningful connections.

Paul Stathis, CEO of BICSI South Pacific, shared his perspective on this collaboration. “Bringing the BICSI conference alongside Integrate, and the Security Exhibition & Conference is a pioneering move, and we believe it’s a perfect fit for our respective industries. Most, if not, all building services are digital and connected to the Internet, so it makes perfect sense to co-locate our event with the AV and Security industries’ main event in Australia – Integrate & Security Show. This unique combination will provide attendees from all three industry sectors with unparalleled opportunities for networking, learning, and staying at the forefront of industry advancements.”

Keep reading about the expo here.