Review: Audio-Technica ATH-R30x open-back headphones

Open-backed reference headphones make me feel like I’m eavesdropping on the mix. I feel a bit like a fly on the wall—I’ve snuck into the studio and I’m witnessing the raw tracks in the act of becoming a real, tangible song. I can hear nuance with such clarity, allowing me to tweak parts of the mix with such precision, that listeners of the final published song will wonder how on earth everything sounds so cohesive and glued together. There are only two ways to get that feeling of being locked into the mix while still open to the ambience of the room around you. You’re either listening through a set of sick studio monitors, or you’re rocking a pair of open-backed reference headphones. The Audio-Technica ATH-R30x Professional Open-Back Headphones bring a refreshing honesty to that aesthetic. There’s no hype or posturing about them. If you’re chasing detail, transparency and mix-ready performance on a leaner budget, or if you just want to hear your mix without ego, this is the set to reach for.

Read up on all the latest interviews, features and columns here.

Audio-Technica has been a mainstay in studios, broadcast booths and bedroom setups since the late 1960s. They’ve earned their stripes by consistently delivering gear that sounds good, works hard and punches above its price point. Founded in Japan in 1962, the company started by designing phonograph cartridges. Over the decades, it launched products in the professional audio industry, etching its name across the faces of turntables, microphones, and headphones that found their way into studios, radio stations and stages across the globe. For many of us (including me), their M-series closed-back headphones—especially the M50x—were the first real taste of pro-grade monitoring. But not every job calls for vacuum-level isolation. That’s where the open-back R-series comes in. Their work with open-back designs is of a prestigious pedigree. The AT open-backed models are aimed less at casual listeners and more at critical monitoring, mixing and mastering. In these contexts, sonic honesty trumps everything else.

ATH-R30x

The ATH-R30x come in a minimalist white box with clean black typography. On the front is a high-quality side-profile image of the left earcup. Inside, the headphones are nestled in a wad of thick tissue paper and embedded in a notched cardboard platform. The only other thing in the box is the user manual, and all of the packaging appears to be recyclable, echoing the utilitarian philosophy of studio gear that’s built to work with no fluff or frills.

Crucially, the ATH-R30x are extremely lightweight: exactly 200 grams on the dot, according to my kitchen scales. After a long session, my current set of pro isolation reference headphones make my ears feel like they’re being slowly shrink-wrapped, so sitting in the mix with the lightweight open-backed ATH-R30x made me feel more equipped, less hindered and able to work for longer periods. Kind of like going for a run and swapping your trackpants out for a pair of rugby shorts. Making music can feel like a sport, right?

At the jack end of the neatly wound stereo cable is a gold-plated ⅛” stereo jack with a screw-on gold-plated ¼” adapter. The other end of the cable splits off at a Y-branch 45cm below the headphones, each end joining neatly to the base of each earcup. The black steel grille over the open-back drivers gives off a modern industrial aesthetic. Twin headbands—a flexible plastic brace up top and a fabric-padded strap underneath—make for a snug and gentle fit. The velvet earpads are comfy enough to wear for hours, and the cups are large enough without feeling oversized. Even the L/R markings are clean and functional: a single white letter on a black background framed by brushed metal sliders. The sliders, incidentally, are notchless, meaning you don’t have to fumble around trying to find the ‘click’, but still tight enough that they won’t shift out of position unless you tell them to. The ATH-R30x design borrows from the DNA of its older siblings; the R50x and R70x. To my eye, it’s a design that evokes the hollow, feather-light bone-structure of some industrial bird: a delicate black frame that seems to almost disappear into imperceptibility when you put it on your head.

View this post on Instagram

A post shared by Audio-Technica Australia (@audiotechnicaau)

The muscle of the ATH-R30x headphones comes from a pair of 40mm dynamic drivers, tuned to deliver a frequency response from 15 Hz to 25,000 Hz, more than enough range to capture sub-bass and high-end sparkle. In practice that range feels less about extension and more about focus. The R30x don’t hype the low-end or carve out the highs for flattery. They’re reference headphones, so they give you the whole picture, warts and all, which is exactly what you want in the context of a raw mix. With an impedance of 36 ohms, you can plug these straight into your laptop or interface without needing a dedicated headphone amp, and the 92 dB sensitivity means they appreciate a bit of headroom to stretch out. Rated to handle up to 1,000 mW of input power, they stay clean and composed even when driven hard, which speaks to their durability and reliability in real-world settings. These headphones will tell you the truth before the mastering fairy-dust goes on. 

If the ATH-R70x are the studio legend and the R50x are the ambitious all-rounder, the R30x is the quiet overachiever who shows up early, stays late, and doesn’t expect any extra credit or praise. They’re light, honest, comfortable and resilient—especially considering the price bracket. Audio-Technica has once again delivered a product that is premium without being precious, and surgical without being sterile. The ATH-R30x might just be the most transparent thing you can wear on your head.

For local Audio-Technica enquiries, keep reading at Audio-Technica Australia.

Tech titans and film legends unite for SXSW Sydney’s biggest program yet

The annual convergence of tech, creativity and innovation continues to build momentum as one of Australia’s most significant cultural and industry events. SXSW Sydney has revealed its first wave of programming for 2025, bringing together global thought leaders, groundbreaking films and cutting-edge games for a week-long celebration of creative industries and emerging technologies.

Ernie Ball Bell Bronze: how do they stack up?

They’re at the mercy of the player, first and foremost, bad fretting and clunky playing being exacerbated by fresh, squeaky strings, the wrong alloy can sound mismatched depending on the wood of your guitar. Many players will have a set or type of string they default to, but how do they really stack up against the rest?

There’s various metals to choose from, as well as coatings, gauges and designs, especially from a company as invested in guitar tone as Ernie Ball are. Their Earthwood Bell Bronze are something entirely new and, developed in collaboration with John Mayer, are inspired by the alloys used for bells and cymbals. As you’d expect, they offer a warmer and more mid-focused sound thanks to the metals used.

Read up on all the latest interviews, features and columns here.

The Bell Bronze strings are available from .10s up to .13s, with .11s and .12s between those two gauges. Earthwood Bell Bronze are noticeably richer and more full sounding, and while they have a mid-focused resonance, it’s not overpowering, nor muddy. They retain all the clarity of something more akin to Phosphor Bronze. The Bell Bronze, as you’d expect, have a particularly chimey sound, much like a bell, ringing true with overtones and harmonic richness aplenty.

View this post on Instagram

A post shared by Mixdown Magazine (@mixdownmagazine)

Ernie Ball’s range of acoustic strings have a huge offering for all types of players, with coated strings being a great solution for busy giggers and part-time players alike, the coating serving to retain clarity over time to protect strings from grime, sweat and more, or to keep them sounding fresh on your prized guitar that’s not played enough!

Some alloys and metal resonate differently, coupled with the woods of your guitar, and finding the best possible pairing for yourself as a player is incredibly important. So how do the new Earthwood Bell Bronze stack up to the strings we know and love?

Aluminum Bronze

Comparatively, strings like Ernie Ball’s Aluminum Bronze that are constructed from steel hex cores and aluminium bronze wrap offer deeper lows and more sparkling highs, perfect for strumming away at chords and arpeggiated playing, whereas John Mayer, a player decidedly focused on lead playing, needs to poke out a little more from a mix with his Bell Bronze strings. The Aluminium Bronze are a little less bright and focused than Phosphor Bronze strings, though have more top end than the bell-like Bell Bronze.

Earthwood Phosphor Bronze

Phosphor Bronze is the tried and true solution for a lot of players, Ernie Ball’s Earthwood Phosphor Bronze are comprised of 92% copper, 7.7% tin and 0.3% phosphorus wrapped around a hex shaped steel core wire for both strength and tuning accuracy. There’s a mellow warmth to phosphor bronze, coupled with brightness and clarity for finger picking, leads and chicken-pickin’. 

Comparatively, the Bell Bronze features the same warmth as this popular choice, but with a more mid-focus and less mellow disposition.

Everlast

Expanding on the Earthwood Phosphor Bronze, Ernie Ball’s Everlast Coated strings take everything you love about Phosphor Bronze and add a layered coating that repels unwanted moisture, sweat, oils and whatever else might be thrown around at your next gig!

The life of your strings is prolonged, as well as their sound over time, retaining the clarity and warmth. Ernie Ball’s groundbreaking nanotechnology coating is applied to both the inner hex core and outer wrap wire for uncompromised tone and long-lasting protection from the elements. Tonally, the Ernie Ball Everlast strings retain all the brightness of Phosphor Bronze and let you keep that tone alive for longer than traditional strings, the dirt and grime that slowly erodes strings over time being stopped at the source; offering consistent, balanced response.

Paradigm Phosphor Bronze

As if that weren’t enough, Ernie Ball’s Paradigm Phosphor Bronze strings have the aforementioned nanotechnology as well as plasma enhanced wrap to protect the string from breaking at its core, adding corrosion resistance to an already stellar sounding string.

The Paradigm offer a more modern tone, a little more scooped than uncoated Phosphor Bronze, settling into contemporary productions with controlled bottom end, consistent pick or finger attack and mids without being overtly warm or too harmonically rich.

The new Earthwood Bell Bronze nestle themselves comfortably into the range, blending contemporary clarity and controlled low end with focused mids and warmth of more traditional acoustic guitar sounds. For lead playing, the chimey tone helps you to cut through an arrangement, making it perfect for both lead and rhythm playing on an acoustic guitar, the sound and character of your guitar shining through.

Exploring different sounds and styles for yourself is incredibly important, and while it’s important to find a tone that works for you, companies like Ernie Ball are putting in the work to expand their ranges to help us find our sound.

For more info, and local Ernie Ball enquiries, keep reading at Ernie Ball Australia.

10 underrated Bruce Springsteen songs

There are very few songwriters in the American music canon as respected, with Bruce Springsteen songs speaking to the very hearts of America.

But, as revered as his songbook may be, it is also vast, and thus inevitably includes some great tracks that haven’t yet received the attention they deserve. Here are ten underrated tracks by ‘The Boss’ that perhaps you haven’t heard, or haven’t heard enough. 

Read all the latest features, columns and more here.

Drive All Night (The River, 1980) 

The River, Springsteen’s esteemed fifth album, was envisaged as an attempt to capture the E Street band’s energetic live sound and spawned several hit singles for the group. Not included amongst these hits however, was the oft overlooked ballad “Drive All Night”, a beautiful, piano-driven tale of lost love that features a positively spine tingling vocal performance. Playing the part of a man yearning for his estranged lover, Springsteen’s simple and gut-wrenching lyricism is in full flight on this song. 

My Father’s House (Nebraska, 1982) 

Nebraska, 1982’s sparse, haunting follow up to The River, was recorded by Springsteen alone as a demo tape on a four track recorder. Initially planning to re-record the songs with the E Street Band, Springsteen ultimately decided to release the songs as they were. “My Father’s House”, an incredibly moving deep-cut from the record, touches upon the complex relationship between father and son, and laments man’s inability to change the past in a sombre, folky style. 

Shut Out The Light (Non-Album B-Side, 1984) 

Serving as the B-Side to Springsteen’s mega-hit “Born in the U.S.A.”, “Shut Out The Light” is a delicate acoustic number inspired by Ron Kovic’s book Born on the Fourth of July. Alongside a fantastic performance by violinist Soozie Tyrell, Springsteen’s lyrics on this track speak to the harrowing psychological repercussions of the Vietnam War. “Shut Out The Light” serves as a perfect foil to its harder, poppier A-Side and showcases a gentler facet of the Boss’s songwriting. 

Janey Don’t You Lose Heart (Non-Album B-Side, 1985) 

The sixth single from 1984’s Born in the U.S.A., “I’m Going Down” is perhaps not one of Springsteen’s finest lyrical moments, but thankfully it did provide us with its upbeat yet gentle B-Side “Janey Don’t You Lose Heart”. A fine example of of one of the Bruce Springsteen songs with an unmistakable melodic sensibility and featuring a more tender, sophisticated message than its somewhat goofy A-Side, this track is well worth a spin. With its seductive, warming lyrics and highly catchy tune, there’s not much to dislike about this under-the-radar earworm. 

Tougher Than The Rest (Tunnel of Love, 1987) 

Featuring heavily reverberated drum machines and spacious synths, the sound of “Tougher Than The Rest” is pure 80s. Lying under the slightly corny sheen of its production however, is one of Springteen’s finest ballads. Whilst not a hit in the United States, this simple tale of the bitterness of love and the inevitability of raw attraction was very well received in Europe upon its release and remains one of Springsteen’s most emotive works. 

If I Should Fall Behind (Lucky Town, 1992) 

A tribute to his wife Patti Scialfa and considered by the Boss to be one of his best tracks, “If I Should Fall Behind” is a beautifully timeless, grown-up love song. Whilst originally somewhat overlooked, this stunning track eventually became a fan favourite and features some of Springsteen’s most moving and poetic lyrics. With its enchanting Latin feel, lush instrumentation and gorgeous melody, this song truly is a highlight of Springsteen’s catalogue.Whilst these days it’s perhaps not so underrated, it’s never a bad time to bring it up. 

Straight Time (The Ghost of Tom Joad, 1995) 

Folky in its nature and considered by some to be a sister-album to 1982’s Nebraska, The Ghost of Tom Joad marked Springsteen’s return to a mostly acoustic sound and also earned him a Grammy. Despite not being particularly well known, “Straight Time” is a standout track from the record thanks to its refreshingly simple approach and its effective depiction of an ex-con attempting to live a normal life. The stripped back nature of this album allows both Springsteen’s artistic and actual voice to really shine through, and ‘Straight Time’ is a great example of why that’s so valuable. 

Back in Your Arms (Tracks, 1998) 

In 1998, Springsteen released Tracks a compilation box-set of B-Sides, rarities and previously unheard outtakes. Hidden amongst these gems was “Back in Your Arms”, a charming studio outtake recorded in 1995. Featuring a lovely saxophone performance by Clarence Clemons, “Back in Your Arms” is a brilliantly soulful ballad that perfectly encapsulates Springsteen’s unique style. Huskily crying out for the embrace of an ex-lover, Springsteen once again finds a way to lift spirits and tug on heartstrings simultaneously on this little-known tune. 

The Hitter (Devils & Dust, 2005) 

Featured on Springsteen’s somewhat unheralded album Devils & Dust, the third in his unofficial acoustic trilogy, “The Hitter” is a Bob Dylan-esque folk song that showcases his immense gift for storytelling. Spinning the tale of a boxer lamenting his decision to throw a fight, Springsteen’s use of first person perspective in this song is highly dramatic, exemplifying his literary ability to foster empathy for an unlikable character. In songs such as “The Hitter”, Springsteen pays tribute to his songwriting heroes and proves once again why he is often mentioned alongside them. 

City Of Night (The Promise, 2010) 

A soulful deep cut from the Boss’s later period, “City of Night” is a refined, atmospheric number somewhat reminiscent of the stylings of Mink DeVille. Whilst considered by some to be a bit of a throwaway song, “City Of Night” features a brilliantly minimal production style, lovely instrumentation and even contains a hidden track entitled “The Way”. Showing that in 2010, Springsteen’s over forty year career was far from over, fantastic deep cuts like this one remind us why it still isn’t. Springsteen continues to fill the great American songbook with his timeless works today and shows no signs of slowing down. 

Long may he reign. 

Watch Bob Clearmountain’s famous work on Bruce’s “Born in the U.S.A.” here.

Review: Akai FORCE Standalone Clip Launching Machine

LEWITT Audio and their pursuit of the lost audio pioneering spirit

We caught up with Roman Perschon, founder of LEWITT, and Patrick Peeters, head of Global Sales, about their commitment to innovation and their passion for creation.

The microphone industry on the whole features a lot of tried-and-true designs, though sometimes it can feel a bit stale, i.e. reissues of classic designs etc. but Lewitt is doing something to push the industry forward. Can you tell us a bit about LEWITT’s mission?

LEWITT was founded to push microphone design forward. The funny thing is that the designs that are now oftentimes being copied were all about pushing boundaries when they came out. We consciously revive this lost audio pioneering spirit with new designs and feature sets. We believe that great sound is for everyone and offer cutting-edge sound and specs at affordable prices. Something that was very difficult in the past but is now possible with modern manufacturing techniques.

You engage with artists and producers when doing R&D— why do you do this?

People are the core of LEWITT because technology is never its own end. Technology’s purpose is to enable a fantastic user experience, provide a better workflow and yield better results for the user. That is why cooperation with artists and producers is so important to us. They allow us to listen and learn what features and sound characteristics make sense in the real world.

Read up on all the latest interviews, features and columns here.

The last few years have seen Lewitt step into the audio interface market— why is this? Did you see a problem with the existing market? Or is this a result of talking to artists and producers?

When you start recording, using an audio interface is weirdly complicated, as you probably know from your personal experience. Audio interfaces have a lot of room for improvement when it comes to usability. LEWITT audio interfaces change that with features like “Autosetup”. Just let it know what you want to do, and it will dial in the proper settings for you. These seemingly “simple” things are not something that only beginners appreciate. We also get praise from Grammy Award winning producers when clever features make room and save time for the creative part of our work.

LEWITT truly is a global brand, while based in Vienna, you work very closely with your Chinese manufacturers and US teams. Why is this integration so important to you? Why do you work to dispel misconceptions about overseas manufacturing?

We want to offer the best price-to-performance ratio for LEWITT customers and make our products accessible to as many people as possible. Although we design and develop all our products in our HQ in Vienna, China has established supply chains that are unparalleled in the world. We don’t see benefits in shipping components produced in China around the globe and then putting them together somewhere else to gain a particular image that, in the end, does not reflect economic realities. In China, we have our own team that sets up production lines, measurement systems and quality procedures, to ensure all LEWITT products meet the highest standards, yet at affordable prices.

Our global sales partners confirm that LEWITT products have one of the lowest defect return rates from all of their suppliers.

Products like the LCT 640 TS really push recording and music production forward, allowing for polar pattern to be adjusted after the fact. Can you talk a bit about where the idea/need for this came from?

A multi-pattern microphone often serves as a “studio workhorse”. The idea of LCT 640 TS was to create a studio workhorse 2.0, something that brings even more flexibility to the studio. Its Dual Output Mode allows to change the polar pattern and, therefore, the frequency response during the mixing process or while doing the sound check. Something that has been proven extremely valuable to audio professionals working in the studio but also live. You can also use LCT 640 TS to create perfectly phase-aligned stereo recordings, again adding flexibility. Plus, any two LCT 640 TS form a stereo pair due to our Perfect Match Technology. You can add another LCT 640 TS to your locker as you go should you want to build more complex microphone setups at a later point and still get the performance of a matched pair.

While obviously interchangeable— what do you think makes for a good studio mic vs. a good live mic?

The LEWITT MTP W950 live microphone is there to make everyone happy – the engineer, the artist, and, of course, the audience. It makes the artist sound live like on the record by featuring a 1” true condenser studio capsule. To make this work on stage, our R&D team fine-tuned the pickup behavior until we achieved an industry-defining 90% rear rejection, resulting in crystal-clear live mixes, providing freedom for the engineer to create the sound needed for an impactful performance. 

It’s the same with studio mics. They are good when they help you sound fantastic easily, meaning your takes will sit well in the mix. And they are good when they provide the high-end specs needed to make room for creativity. 

Our recent PURE TUBE studio vocal microphone is a perfect example of this. People love the sound of tube microphones, but the classic designs are oftentimes noisy and, therefore, unsuitable for modern production techniques like heavy compression or vocal layering. If the noise levels are high, they add up. For PURE TUBE, we designed a new circuit from scratch with the lowest self-noise figures of any tube microphone on the market while delivering the depth and warmth that vocalists find inspiring.

Can you speak to any exciting ideas/technology/advances that you’re excited about?

Everyone needs a reliable acoustic environment to create professional mixes for music or video production, but not everybody has the possibility to work in such an environment. That’s why we developed Space Replicator, our first plugin. It allows for professional audio mixing, editing, and mastering, even without a studio. For this, we captured real spaces and turned them into virtual acoustic spaces with extremely high resolution. You can experience these spaces as if you were there using the headphone model you already have. 

Space Replicator offers a great variety of professional mixing and mastering rooms. Ideal for anything from critical listening to extra-long mixing sessions, always with the natural stereo field of high-end speaker systems. This way, the in-head localization of headphones is transformed into an experience of sitting in front of a professional speaker system, which makes working with audio much easier. The plugin also allows you to check how your mixes translate where your audience will play it – on a smartphone in the living room, car, or the club. 

This solution allows many people without access to an acoustically treated space to create mixes they can trust.

For local LEWITT enquires, keep reading at ELFA.

Goldentone: a legacy brought back to life

Goldentone Amplifiers have a deep and rich history in Australian music. Harkening back to the 50s and 60s, their sound and tonality bleeds into decades of Australian musical influence. Their tubey crunch and bright disposition elevate them to a league all of their own, with sonics that aren’t unlike other famous amplifier sounds, but also entirely unique in their response.

Goldentone have been out of production for some time, though have been slowly building a dedicated following on the used and vintage amplifier market. The brand was originally a Rose Morris product, an instrument distributor involved in both VOX and Marshall amplifiers in the United Kingdom. Rose Morris established a Melbourne office in the 50s and, along with the explosion of rock ‘n’ roll across the world coinciding with heavy post-WW2 tariffs, the Australian-manufactured Goldentone Amplifier is born.

Read all the latest product & music industry news here.

More recently, Colin Leadbetter of Nepean Music happened upon the trademark for the Goldentone name for sale, and has now taken on the job of bringing Goldentone back to life.

Goldentone debuted at this year’s Melbourne Guitar Show, with a handful of amps at various stages of production available for the masses to try and hear, blowing away the small crowd that surrounded their booth. In addition to amplifiers, Colin also has plans for some of the famous Goldentone sounds like tremolo, reverb, overdrive and distortion in pedal format, in partnership with an Australian pedal maker, as well as instrument and cabling solutions.

“The first run of these amps is expected to happen later this year,” begins Colin. “It’s unfolding at the moment and it’s going to be re-birthed.”

“[The beginning] was coincidental and opportunistic, but ultimately I found the trademark for sale— the rights to the name.”

Colin goes on to explain that the owner of the trademark had had big ambitions for the brand that never came to fruition, and Colin, having developed a love for an old Goldentone during his time as a record producer, jumped at the chance to bring the company back in 2025.

“I’ve always been very into the history.” he says, referring to the wider world of Australian guitars, amps and gear.

“There was one very notable amplifier that lived at Sing Sing, the old Platinum Records building there. I used that amplifier a lot there.”

“It was an old Goldentone 1755, it was one of my key experiences I suppose. So I was very aware of Goldentone, and its Melbourne-based history.”

“We thought getting our own amps built, and making a way forward for the brand would be five or six years. Right at the time that I got the trademark, I was having a conversation with a well known guy in Melbourne named Phil Bowen, who’s very well known for re-tolexing vintage amplifiers.”

As fate would have it, Phil knew an amp technician, Tim Occleshaw, who happened to be in Mornington, nearby to Nepean Music, who has an extensive knowledge of Goldentone.

“So thanks to [Tim’s] technical skill, we’re 12 or 13 months in and we have prototypes built.”

Excitedly, Colin expands further on what he loves so much about Goldentone, and the design elements he uncovered that made Goldentone amps sound the way they do.

“Via Tim, I’ve been able to say things like ‘I love how the 1755 212 combo from 1964 sounds, but I do like the extra gain and sizzle I get out of the 1758 from that era’, and he can look at the circuits, he’s able to take my generalised ideas and make them into a workable reality.” he says with a grin.

Colin continues, also saying that he managed to happen upon some original Vinex coverings, used on the original Goldentones, as opposed to the usual Tolex for amplifiers.

For all this focus on the legacy and history of the brand, Colin is supremely focused on bringing Goldentone back to the modern day, with tones of the vintage amps available, but with better reliability and consistency, having improved on the original schematics wherever possible and taking advantage of readily available, high quality, modern components.

View this post on Instagram

A post shared by Goldentone Australia (@goldentone_australia)

The entire process has been truly fateful, from Colin happening upon the trademark for sale to connecting with amp tech nearby and even finding the same covering that the amplifiers were originally built with.

“It’s not to say we’re not going to find things challenging, but so far it feels like every part we’ve needed has someone falling at our feet. This has really come together, the right people at the right time.”

In pursuit of staying true to the original designs, the transformers in the amplifiers are also being hand-wound in NSW with a very rare Magnavox transformer winding machine from the 1930’s.

“We’ve found ourselves trying to improve on the elements of the older amplifiers, but on the other hand, Goldentones run on very unusual tubes.”

Colin expands further, referencing the 6GW8 tubes. They’re not found in any other major brand of amplifier, serving as half pre-amp tube, much like a 12AX7, and half power amp tube in one.

“There was a time when they were used in record players,” he says. “The 12AX7 side amplified the needle and the other side amplified the speaker. A lot of Goldentones run on them and they do have a very unique sound. It’s a very Australian sound.”

Colin and his team then discovered that Electro-Harmonix are still producing something with a similar design to this day, the 6BM8, albeit with a different pin out structure. The 6BM8’s preamp side sounds more like a 12AT7 as opposed to a 12AX7.

“We managed to redesign our smaller amplifier, The Gentleman, around those 6BM8 and make it more true to the originals.”

“And that amp has really struck a chord, pardon the pun, with a lot of people who’ve heard it.” Colin says with a laugh.

“When we get to the bigger Goldentones, for example, the Reverbmaster or the Bassmaster series, their tubes were these big things that were the 6DQ6As.”

These tubes are unusual in that they were used extensively in black and white televisions. Surely a sign of the times, Goldentone using whatever tubes were most freely available in Australia at the time.

“From 1958 to ‘60, maybe into ‘61, most of the amps are identifiable that they had the control plates up the top on the back. Those amps ran on, typically, EL34s, some of them even had 6L6s in them, the standards. So they started off in that same universe.”

“From ‘61 onwards, the design completely changed, and all those tubes disappear and all these esoteric ones that no one else uses [appear]. But it’s fair to say that [these tubes] are the sound that Goldentone amps are now famous for.”

While Colin has old stock of these 6DQ6A tubes available, they’re a finite resource, production having been stopped in the 70s, but there’s no point designing new amplifiers on old technology.

“We had to switch over to something else in the output section of our bigger amps, and that is going to naturally make them different than the traditional Goldentones, but we wanna see what we can do to keep it in that realm.”

“We seem to have found our solution in 6V6s.” Colin explains, though is quick to add that their larger amps are still in development as he wants to ensure they’re exactly right.

Colin is leading a small team of incredibly dedicated people to reviving the Goldentone name. He’s not interested in reissuing what’s already been built, nor is he keen to use the Goldentone name to mass produce amplifiers with a vintage aesthetic. Instead, he’s looking to bring Goldentone back, to pick up where they left off, and see a new family of amplifiers on the stages and in the studio with Australian musicians of every generation.

For more info, keep reading at Nepean Music.

Fresh from the Axe Design Lab: Ibanez RGR52ET with EverTune

Engineered for lightning-fast playability and aggressive sounds, the RGR52ET delivers today’s most sought-after features for modern metal guitarists. From technical virtuosity to earth-shattering tones, this guitar delivers everything for an expansive sonic arsenal. The Ibanez RGR52ET delivers focused lows and mids, coupled with a strong high-end attack, and a full, sustained sound, the Fishman Fluence Modern Humbuckers pumping out aggressive tone and a powerful attack with minimal noise.

EverTune

The EverTune bridge is a patented bridge system that keeps your guitar in tune under any conditions. The bridge has six springs and levers, one for each of a guitar’s six strings, the springs applying opposing force necessary to compensate for tuning shifts, maintaining the correct tension and tuning at all times. This mechanical system eliminates the need for constant retuning whilst preserving normal note bending capabilities.

Read all the latest product & music industry news here.

The Ibanez RGR52ET represents three decades of metal heritage refined into a precision instrument. This Axe Design Lab series guitar features a distinctive premium tonal experience, with innovative hardware designed for both speed and strength. The construction centres around a 3-piece maple Wizard III neck paired with a Maple top/Nyatoh body finished in a sleek, gloss black.

The Maple top sonically enriches the response whilst picking, while the Nyatoh body provides a rich mid-low end. Perhaps the most notable feature is the EverTune bridge system keeps the guitar in tune under any conditions, making it virtually maintenance-free for tuning stability. Gotoh® machine heads provide superior precision, a smooth feel and excellent tuning accuracy.

For local Ibanez enquiries, keep reading at Australis Music.

PRS Guitars and Ed Sheeran collaborate for “F1: The Movie” soundtrack

PRS Guitars today announced a one-off model collaboration with global music sensation Ed Sheeran. The guitar is featured in the video for Sheeran’s new song “Drive”, written exclusively for the soundtrack to the Apple Original Films’ upcoming film F1: The Movie.

The song features Sheeran along with Dave Grohl and PRS Signature Artist John Mayer. The video for “Drive” was released early this morning on Ed Sheeran’s YouTube channel.

Read all the latest product & music industry news here.

“I wanted to create a bespoke guitar with PRS for the F1 movie and song I did, “Drive”. I wanted it to be striking, bright and a baritone so I can use it on tour for the song.” said Ed Sheeran.

“It’s a fantastic guitar, I’ve done a few shows with it now and it knocks.”

The racing-themed guitar is a custom, one-off SE Hollowbody Baritone with a custom classic red paint job. The unique fretboard inlay features a vintage racer shift gate at the 12th fret, paying homage to the history of the sport. Yellow birds on the fretboard round out the design.

“This has been an exciting project to work on with Ed. From his years of playing our electrics, he knew exactly what he wanted in terms of look, sound and feel. This unique creation will be incredibly memorable once the video is released,” said PRS Guitars Director of Artist and Community Relations, Bev Fowler.

Sheeran has been playing PRS for his choice of electric guitars since 2018. He currently has a Hollowbody II in a Prism Dragon’s Breath finish with bing cherries on the fretboard, a one-off purple Silver Sky gifted to him by John Mayer, and a stock Custom 22.

For local PRS Guitars enquiries, visit Electric Factory.

AC/DC to bring it home on November & December 2025 Australian tour!

Much to the delight of legions of fans across Australia, the legendary GRAMMY Award-winning Rock and Roll Hall of Fame-inducted band AC/DC will perform in stadiums around the country with tickets going on sale at staggered times on Thursday, 26 June.

Read all the latest product & music industry news here.

The tour shares its name with AC/DC’s 2020 album, POWER UP, which debuted at #1 on the ARIA Chart in Australia and 20 other countries around the globe. POWER UP notably notched the band’s third #1 debut on the Billboard 200 and exploded as one of the best-selling albums of 2020 worldwide. It closed out the year on Rolling Stone’s “Top 50 Albums of 2020” and Consequence of Sound’s “Top 50 Albums of 2020.” Plus, it garnered GRAMMY® Award nominations in the categories of “Best Rock Album”, “Best Rock Performance”, and “Best Music Video” for “Shot In The Dark.”

AC/DC Australia 2025

• Wednesday 12 November – Melbourne Cricket Ground, on sale 1pm local TICKETEK
• Friday 21 November – Sydney Accor Stadium, on sale 9am local TICKETEK
• Sunday 30 November – Adelaide bp Adelaide Grand Final, on sale 10am local TICKETMASTER
• Thursday 4 December – Perth Optus Stadium, on sale 1pm local TICKETEK
• Sunday 14 December – Brisbane Suncorp Stadium, on sale 11am local TICKETEK

In 2024, the POWER UP Tour kicked off in Europe with a staggering 1.7 million tickets sold in the first days of sales, eventually surpassing 2 million tickets sold across 24 shows. The band just concluded 10 sold-out shows in North America and has 15 additional shows scheduled across Europe before returning to Australia.

AC/DC played their very first show on the 31st December 1973 at Chequers Nightclub in Sydney, Australia. They are one of the most influential rock bands in history, with over 200 million albums sold worldwide. The band’s Back In Black LP is the “bestselling album by any band ever” and the “third bestselling album by any artist” with global sales of 50 million and counting. AC/DC was inducted into the Rock and Roll Hall of Fame in 2003. The band continue selling out stadiums on multiple continents, sell millions of albums annually and generate streams in the billions.

To continue their reign as the world’s greatest rock and roll band, AC/DC—Angus Young on lead guitar, vocalist Brian Johnson, rhythm guitarist Stevie Young, drummer Matt Laug and bass player Chris Chaney—is back to play to their legion of dedicated fans around Australia, which grows with every passing year.

For more info, ticketing and show dates, keep reading here.

STL Tones ControlHub 3.0: redefining the modern studio

Gretsch announce Limited Edition Falcon Centre Block Jr.

The Limited Edition Gretsch Falcon Centre Block Jr. offers a unique twist on the classic Falcon recipe. Featuring a scaled down body size, a gorgeous, quilted maple top, mahogany back and sides, and a redesigned Channel Core™ center block, this rare bird is sure to impress with its upscale style and glorious sound.

Read all the latest product & music industry news here.

• Quilted maple top with mahogany back and sides
• Redesigned Channel Core centre block features a combination of maple and spruce for faster attack and enhanced midrange punch
• Standard “U”-shaped mahogany neck with 24.6″ scale length
• 12″-radius ebony fingerboard with 22 medium jumbo frets, Mother of Pearl Neo-Classic™ thumbnail inlays and Luminlay side dots
• TV Jones TV Classic and TV Classic Plus Filter’Tron pickups
• Three-position pickup toggle switch, individual volume controls for neck and bridge pickups, master volume control with treble bleed circuit and master no-load tone control with “Squeezebox” capacitor
• String-thru Bigsby B3GP vibrato tailpiece
• Adjusto-Matic bridge on pinned ebony base
• Graph Tech TUSQ® XL nut, Grover Imperial locking tuners, Grover strap locks, Gold hardware, G6241JR Gretsch deluxe hardshell case included
• Available in Roundup Orange

Combining a maple top layer and spruce bottom layer with a more focused chambering design, the redesigned Channel Core™ center block provides faster note attack and enhanced midrange punch that takes this Limited Edition Falcon Jr. guitar to a whole new level. The TV Jones® TV Classic™ neck pickup provides clean, compressed highs and mids with a tight and controlled low-end, while the TV Classic Plus™ bridge pickup bring a little more attitude to the party with a slightly rounder top end and higher output, making this a versatile combination that can cover a lot of sonic territory. A 12″-radius ebony fingerboard with 22 medium jumbo frets tops a 24.6″-scale mahogany neck with a comfortably familiar standard “U”-shaped profile for smooth playability, while the glow in the dark Luminlay® side dots offer precision fretting in low-light settings.

For more info, keep reading at Gretsch Guitars.

Review: Apogee Symphony Studio 8×8

Apogee is a name synonymous with solutions for the audio professional. Dating back decades, they were the first to offer upgrades for the reel-to-reel digital tape machines that became prominent in studios worldwide. Fast forward to 2025, Apogee audio interfaces and converters are considered a common standard within the audio industry.

This legacy continues with Apogee’s Symphony line of audio interfaces, which have sat high on the list of studio-grade converter and audio interface solutions for years. Apogee have packed a plethora of new ideas into a product line that has already been very successful. 

So, how does one go about making a good thing even better?

Well, it’s easy to tell that Apogee have put a considerable amount of time and consideration into the needs and requirements of the modern musician-based, composer-based, project, mixing and immersive studio. 

The new family of Apogee Symphony Studio USB-C Audio Interfaces are specially tailored to meld seamlessly into modern workflows, mating Apogee’s world-class converters with pristine high-quality preamps that offer a whopping 75dB of gain on each channel.

Symphony Studio 8×8

For this review, I have been supplied with the Apogee Symphony Studio 8×8 model. This interface is nestled between the 8×16 and the 2×12, offering eight inputs and outputs, with eight in-built mic preamps, the Studio 8×8 is catered predominantly towards home studio producers and musicians. This new range of interfaces is designed with surround and immersive sound in mind, with the 8×16 having enough outputs for 9.1.6 immersive mixing, the 2×12 for 7.1.4 immersive mixing and the 8×8 for 7.1. surround mixing.

The front panel of the Apogee Symphony Studio 8×8 boasts two independent headphone outputs, providing the perfect arrangement for home studios in which live instruments are being tracked during the session. Apogee makes it easy to provide effective and intuitive monitoring solutions so you can spend more time making music and less time scratching your head figuring out complex routing solutions in over-complicated GUIs.

The rest of the unit’s faceplate remains clutter-free and easy to decipher. Two separate buttons are dedicated to input and channel selection, as well as a separate button to engage 48V phantom power, and Apogee’s patented Softlimit dynamic control parameter.

Apogee has granted us two primary methods when it comes to controlling the Symphony Studio 8×8 Audio Interface. The one that I imagine most users will utilise is found on the unit itself which, as I mentioned previously, Apogee have made quite straightforward to use.

Setting up an input signal is as easy as pressing the input button, which will bring forward a selection screen on the unit’s LCD screen. Selecting the appropriate input entails turning the Symphony Studio’s control knob until the desired channel is selected and then pushing the control knob inwards. From here on, the process is just as simple, requiring the user to either select or bypass phantom power and then set the input gain level with the control knob just as you would with any basic mic preamp.

The secondary means of control for the Symphony Studio 8×8 can be found within Apogee’s Control 2 software, which can work as a standalone digital controller for the device. Using Control 2’s intuitive GUI makes the process quite similar to how one would go about setting up an input signal within the unit itself, albeit with the benefit of remote control.

Getting output signal from the hardware is also extremely simple, as after setting the interface as the output device for the computer, pressing the headphone button located on the faceplate of the unit will immediately bring forward an output meter. At this point, it is as easy as using the unit’s control knob to set the desired output level and pushing it in to confirm the selection.

To hear input signals through the unit’s headphone outputs, it is as simple as opening the Control 2 software, enabling the low-latency mixer, and changing the source for headphone 1 or 2 to “Mixer 1”.

Getting up and running with the Apogee Symphony Studio 8×8 was both fast and headache-free. I was running a signal into the unit within a matter of minutes, which freed up my capacity to further explore the unit’s more advanced features. 

It’s at this point in time that I feel it necessary to highlight that the Apogee Symphony Studio line outputs all signals via DB25 connector. For those not familiar, DB25 “or DSUB” can effectively carry 8 audio signals that would usually travel via 8 separate XLRs with a single connector and loom.

The reason for this on Apogee’s end is that it means that each unit in the Symphony Studio line will only hold 1 rack space whilst still being able to accommodate outputting signal to a number of monitoring and outboard gear options.

Thoughtfully, Apogee have also provided all models within the new Symphony Studio line with a selection of handy input and output DSP. 

For example, I found great usefulness in the units onboard bass management controls, which provide effective low-pass and high-pass filters, enabling the user to fine-tune the bass response of their monitoring system. This type of feature would essentially be used to seamlessly incorporate a subwoofer into a monitor array by precisely controlling slopes and crossover frequencies.

Room EQ utility

The ability to fine-tune the response of your monitoring situation is further influenced by Apogee’s included Room EQ utility, providing 16 bands per speaker, ensuring that you are able to dial in a great monitoring experience regardless of which space you may be working out of or th amount of speakers you’re using! Speaker delays round out the units’ outboard DSP, allowing you to compensate for differences in front, rear and side speakers, as well as your listening position.

Apogee have done much to improve on the already well-established Symphony line of audio interfaces. The Symphony Studio 8×8 is a great solution for anyone looking for an audio interface that will provide the utmost in listening quality and conversion, with the required I/O to support a variety of monitor workflows. 

For local Apogee Electronics enquiries, keep reading a Link Audio.

Introducing the new B2+ Digital Piano from KORG

Perhaps you played as a child and have been thinking about returning to it. The KORG B2+ digital piano was made with you in mind. It offers the rich, expressive sound and natural touch of an acoustic piano, but with the convenience of modern digital features. The B2+ is an experience that feels intuitive, rewarding and inspiring. Whether you’re a beginner or rediscovering your musical passion, the B2+ makes it easy to enjoy playing again and to keep going for years to come.

B2+ Digital Piano

A variety of high-quality sounds lets you explore different musical styles, while USB Type-C connectivity makes it easy to connect with smartphones and tablets. Practice with lesson apps, play along with your favourite tracks, or try something entirely new. The tools are there to support whatever keeps you motivated.

Read all the latest product & music industry news here.

B2+SP

Choose between two models to suit your playing style and space: the B2+, a solid and versatile entry-level option, or the B2+SP, which includes a stand and a three-pedal unit for a more traditional piano setup. Whether you’re learning for the first time or rediscovering your love for the piano, the B2+ makes it easy and enjoyable to play.

Natural Weighted Hammer Action keyboard

This instrument uses a Natural Weighted Hammer Action (NH) keyboard that reproduces the same feel that results from the hammers on a real acoustic piano, where the lower register keys feel heavier and the higher register key feel lighter. The keybed is sensitive to subtle changes in touch, capturing the nuance of every performance. A touch control function lets you choose from three settings (Light, Normal or Heavy), so you can tailor the response to match your playing style.

The KORG B2+ is equipped with carefully tuned speakers that ensure balanced sound across all registers, from deep bass to crisp treble. The enhanced speaker system supports both subtle and expressive playing, delivering clear detail whether you’re performing delicate pianissimo phrases or bold fortissimo passages. For beginners, practicing with beautiful, high-quality sound can make all the difference.

For local KORG enquiries, keep reading at CMI Music & Audio.

Review: Electro-Harmonix Oceans Abyss Advanced Reverb Laboratory

Building upon the current lineup of reverb pedals from Electro-Harmonix, which has long revolved around the beloved Holy Grail, the Oceans line of stompboxes have gathered much momentum among ambience enthusiasts in recent years.

While the Holy Grail, which isn’t going anywhere, holds up great for such an early digital unit, the Oceans pedals have been tailored to expand upon the template laid out by the classic. This range essentially offers more options for players who need extra variety from their Reverb effects unit.

Oceans Abyss stands as the flagship model in the Oceans line, updating Electro Harmonix’s (EHX) highly acclaimed reverb algorithm to deliver an advanced workstation that is designed to provide truly immersive effects. 

For a unit with such impressive capabilities under the hood, I must say that EHX have gone above and beyond to make the Oceans Abyss not only presentable but also inviting. No potentially intimidating UI here, the Oceans Abyss looks not dissimilar to some other dual-stomp effects units that many of us would have used over the years.

Each side of the Ocean’s Abyss mirrors the other in terms of control layout and switch position, with the centre of the unit featuring a nice, easy-to-read OLED display and buttons to store and access presets. A third footswitch is located in the centre of the unit for switching modulation fx in and out of the assigned patch. 

Controls on the faceplate of the EHX Oceans Abyss are also relatively straightforward, with each side of the unit boasting pots for panning— the Oceans Abyss can run stereo— as well as pre-delay and time. Three sliders serve to control the blend on the units’ panning pot, and a two-band equaliser provides the means to sculpt the frequency response of your verb.

Getting started with the Oceans Abyss is quick and easy. I simply pressed the Home button to display the Signal Path View, which is commonly referred to as the Home screen in EHX documentation. From here, selecting a preset was as easy as hitting the Preset button, which will illuminate it.

One thing I really like about this new unit is EHX’s special NavCoder navigation control. Pushing the NavCoder directionally will move the cursor on the OLED towards your desired preset or the parameter that you wish to tweak. Subsequently, rotating the NavCoder allows you to adjust the value of specific parameters, similar to how one would utilise a pot on a traditional pedal or amplifier. For hands-free operation, the simultaneous pressing of A+EFFECT or EFFECT+B footswitches allows the user to navigate the preset menus in much the same way.

Another feature of the Oceans Abyss that I really appreciated was the system’s Live Mode, which essentially lets you engage with the pedal’s analogue controls much like a traditional reverb or delay unit. To exit a preset and enter the unit’s Live mode is as simple as pressing the Preset button to bypass the chosen preset. Additionally, saving a user-made preset is as easy as holding the Preset button and inputting the relevant information, such as preset name and slot, via the NavCoder. 

This is just the tip of the iceberg when it comes to the functionality of the Oceans Abyss, however the fact that I managed to get up and running with the unit in a matter of minutes goes to show just how much thought EHX has put in when it comes to making this unit intuitive and user friendly. 

This brings me to the sounds. 

The Oceans Abyss revolves around two reverb engines that feature independently programmable stereo algorithms. This means that the Oceans Abyss is essentially two individual pedals in one, which is a dream for players who are already stacking ambience effects together to achieve their tones. 

Hall, Shimmer and Spring algorithms are all familiar yet luscious; however, there is a plethora of others to choose from for those seeking other sounds. This works to make the Oceans Abyss an extremely versatile unit, but there’s way more going on here than traditional reverb sounds.

The Oceans Abyss’ success in innovating via the incorporation of customisable FX Blocks. These include the standard culprits such as modulation and time effects like delay, chorus and tremolo, but also some more wildcard entries like Bitcrusher.

Eight blocks are available within a customisable signal chain, all accessible and easily viewed via the unit’s high-quality OLED display. I think that anyone who is familiar with a block interface, such as the ones implemented by companies like Fractal, will find little difficulty in effectively accessing and tweaking parameters within their desired digital signal chain.

Possibilities are endless when it comes to the EHX Oceans Abyss, whatever you want is at your fingertips, whether it be a simple spring reverb or a fully fledged Shoegaze dreamscape complete with stereo hall and spring reverbs, overdrive, tremolo and chorus. The Oceans Abyss really has the potential to be a total solution for anyone who is looking for a single unit solution to all their time, ambient and modulation-based needs. 

All this, combined with fully stereo I/O with integrated FX Loop, plus MIDI IN and OUT ports with MIDI IN support of PC, CC and tempo clock, only serves to further expand the immense talents of the Oceans Abyss. In 2025, the Electro Harmonix Oceans Abyss is a must for anyone in the market for a professional-grade reverberation unit that will make even your wildest ideas become a reality. 

For local Electro-Harmonix enquiries, keep reading at Vibe Music.

Ableton Move: a formidable musical sketchpad and accessible performance companion

I’ve been an Ableton user for years, and have been really happy with my current setup. I use a Push 2, my laptop, an AKAI Mini, a bunch of guitar effect pedals, a Moog  Grandmother and a boutique JU-06A. If I’m being honest, Ableton Live on my computer feels like enough in itself!

I’m also deeply passionate about accessibility— making good music without needing a mountain of expensive hardware or the latest plug-ins. I’ve always been intentional about resisting the urge to buy new gear just for the sake of it. Also, I will say when I first saw the Ableton Move itself – my thinking was that it looked like a basic version of the Push 2, asking myself ‘How would this be useful to me?’

MIDI

Now, with the arrival of more comprehensive MIDI updates, like per-track configurable simultaneous MIDI input and output as well as MIDI syncing via MIDI Clock input, syncing to external hardware is easier than ever, elevating the Ableton Move.

Read up on all the latest interviews, features and columns here.

In a strange and timely way, this review opportunity came at just the right moment. Winter is here, which is usually my season for writing and going into my creative cave. While I’m proud of my previous releases, many of them were born out of deadlines: grants, university assignments and external timelines.

This time, I’ve wanted to write without the pressure of a due date. I want to take my time, explore and experiment. One of my biggest creative challenges I’ve had is finding a musical voice that feels truly authentic to me. I think some of my last releases were unconsciously shaped by this  need to prove myself— especially as a female producer in a male-dominated space. I’ve felt for a long time this unspoken pressure (whether in academia or in the music industry) to move away  from vocal-led electronic music. To be taken seriously, and to be “book-able” it felt like I had to lean more towards either super experimental or club-focused, DJ-friendly tracks, even when that didn’t align with what truly felt like me.  

So here I am, wanting to really dial-in to making music that is authentic, without any noise, and to  take my time playing and exploring new ways of creating. I’ve recently started collaborating with musicians who aren’t producers. Being open like this has helped me shake up my usual ways of  working.

View this post on Instagram

A post shared by Ableton (@ableton)

The first thing I noticed when setting up the Ableton Move? It was so easy. All I had to do was connect it to Wi-Fi. Done. That alone was refreshing. I’m used to having to troubleshoot constantly when producing. Now, I’m up and running in moments.

Pretty quickly, I saw the creative potential. Because Move is a standalone device, I was just sitting on my bed making music. No laptop, no screen. As someone who spends a lot of time working on a computer, staring at a screen all day, sometimes it can be hard to feel that separation between work and music. The fact that I didn’t have to look at a screen and could create with this super-portable lightweight thing on my bed – or could just chuck it in my bag to sit in the park and create, was great. It was nice to feel like I could really switch off and get out of my head in a way.

On the go, you can also record audio directly from devices like a phone or computer into drum pads or the Melodic Sampler via USB-C, or send audio out elsewhere over USB-C. This kind of connectivity has elevated Move to something that is as powerful as you need it be!

Updates also bring more Arpeggiator Modes to Move, for instant melody and harmonic information to my arrangements. The Move allows you to load up four tracks— which can be instruments, drums, samples, etc. and layer in some effects.

At first, I thought that might feel limiting. I’m a bit of a maximalist sometimes: I love my plug-ins and my intricate layers. But this ‘limitation’ is actually kind of powerful in a way. At the end of the day, what makes good music is really getting your foundations right. All you need is a strong groove, a solid bassline and melody. The rest is all icing.

Sometimes though, I get lost in the icing. I can spend hours sometimes getting lost in perfecting the right blend of oscillators, automating reverb tails or EQing the perfect kick – before even laying out an idea… sometimes this actually slows down the creative process and gets me deep in rabbit holes and obsessing over the finer details. The Move stops all that.  

As someone who is a trained producer and not a trained musician, I am so used to drawing melodies and rhythms. I’ve never been a finger drummer or a pianist and in a way— the tactile nature of Move pushes you to really just trust your instincts and be really intuitive which is great. Thankfully it has Scale Mode functions though, and the step sequencer with the ability to Quantise, and Apply Groove was enough producer tools to help lay down ideas quickly in a tactile intuitive way.

I recently finished Rick Rubin’s The Creative Act: A Way of Being (and before you roll your eyes, hear me out!) One thing I took away from that book was the idea of viewing musical ideas as seeds. The goal isn’t necessarily to finish a song every time you sit down, but to cultivate little ideas that might grow into something more. It’s about building the habit of planting seeds.

Ableton Move 1.5 Beta

That’s where the purpose of Move really shone for me. It’s light, portable, easy to grab and go— perfect for planting creative seeds. While I didn’t come up with anything during this review that I wanted to develop further, just having the space to make something— knowing I could later that I could easily and seamlessly transfer it to Ableton Live as its own project makes it a really cool workflow integrated creative tool.

If the Move, even before this recent update, could be described as anything, it can be used as a solid ‘seed planter’. It helps you focus on the foundations of the track, without distractions and without screens. It’s like a solid, musical sketchpad. I found myself using it to bounce ideas around and get a song flowing, before jumping onto Ableton Live itself to dive deeper into my newly sketched idea. That’s not to say that Move isn’t a great option for use on its own, with the update making Move easily integrate-able into more involved music-making than just planting seeds.

The simplicity of it though, makes it a great option for live performance, and I have already begun to see some artists use it for live performance pretty effectively. 

If you are in a place where you are curious about new methods of writing, want something portable  for when you get ideas (seeds!) when you are out and about, this could be a great tool to  experiment with and keep with you on the go. It may replace your current setup and processes, but that’s not the point. It’s there as a companion and another tool to add to your toolbox.

Interested? Keep reading at Ableton.

Review: Fender Limited Edition Mark Speer Stratocaster

Mark Speer’s new Fender Limited Edition Stratocaster is a spectacle of sight and sound. Featuring oh-so 70s aesthetics and design, this guitar is also heavily influenced by Mark’s needs on stage and in the studio. Subtle additions like jumbo stainless steels frets have come from having worn down multiple sets of frets on his main stage guitar, and his choice of pickups have come from an accidental, phasey re-wire that has carried through to this new Fender signature model.

Mark Speer’s Limited Edition Mark Speer Stratocaster is comprised of a Select Ash body, beautifully finished in a natural, see-through finish, coupled with a maple neck featuring a Custom “C” shape. The natural finish, while having been available for decades, was hugely popular in the 70s, placing the aesthetic and style of Mark’s guitar firmly in that era. Another 70s addition is the bullet-style truss rod adjustment, as well as the three-point neck plate, with Leo Fender’s ingenious “Micro-Tilt” adjustment. A slightly oversized headstock is another nod to the past, and Mark Speer’s Strat features Fender’s classic tremolo system at the other end. Graph Tech string trees and saddles are a special addition, adding a little extra harmonic content, differentiating itself from steel saddles and trees.

The Strat’s fretboard has a 7.25” radius, familiar to vintage Strat fans, the Custom-C shape toeing the line between modern and vintage feel. 21 frets and a classic double cutaway Fender design offer unparalleled access.

The Fender Limited Edition Mark Speer Stratocaster features a HSH configuration, though the two humbuckers are DiMarzio’s Pro Track pickups, humbucker design in a single-coil sized configuration. The humbucker set is completed with a (70s style, of course) single-coil in the middle position. These are controlled by a five way switch with both in phase and out of phase controls in the two and four positions, flanked by the bridge pickup at Position 1, the middle pickup at Position 3 and the neck pickup at Position 5.

Khruangbin

In the hands, the Mark Speer Strat feels great; both familiar and new, an overly inspiring feeling, something that Mark and Laura from Khruangbin have pushed for in their signature models. While Mark’s tones are easily accessible with a guitar that borrows heavily from his main stage guitar of the last decade, it’s also a sonic palette for you to craft your own soundscape.

The gloss finish feels comfortable but not sticky, especially around the neck, the Custom-C shape being hefty enough to help me grab ahold of notes but not so big that it’s a baseball bat feeling neck. The jumbo frets, while entirely a pragmatic addition, elevate the Strat into the current day, with easier access to fretting and really allowing you to wail a little more, particularly helpful when soloing and playing leads, or when flitting around playing impressive arpeggios and sparkling ear worms like Mark does in Khruangbin.

The soft belly carve and contoured body, both staples of the Fender Stratocaster, make the guitar comfortable whether sitting or standing, the Ash body having a little extra weight than the more common Alder, though not uncomfortably so like Mahogany. The additional weight provides some more heft to your tone, as well as resonance, the controlled sound being thanks to the Graph Tech saddles. This subtle change affecting the guitar’s sustain and tonality, the strings resonating in a unique way.

The DiMarzio humbuckers expand the guitar’s sonics at both the top and bottom end. The build of the guitar provides a balanced sound, and every ounce of this is captured by the humbucker, the Pro Track pickups both bucking hum and offering balanced bottom end and crisp, bright high end. The pickup selection differs slightly from a conventional Strat and, while still employing a five-way switch, the positions offer both in and out of phase tones.

The in phase position (Position 2; Bridge and Middle pickup) offers bite, snarl and weight, while the out of phase (Position 4; Neck and middle pickup, out of phase) give the guitar a bright and brittle tonality, ideal for cutting through leads or adding exotic, otherworldly sounds like Mark.

Mark Speer Limited Edition Stratocaster

The Mark Speer Limited Edition Stratocaster is really something special. Having played his own Fender Stratocaster onstage for almost every show with Khurangbin, this guitar has evolved through the needs, requirements and demands of a world-class guitar player. This guitar is for a working musician, designed from the ground up to be relied on night after night, gig after gig.

Featuring aesthetic design and additions from the 70s, Mark Speer’s Strat is not unlike Khruangbin, pulling influence from all time, space and music across the world. Tying together the best of Fender’s history like an Ash body, phasey switching options and vintage style tremolo, and combining it with modern appointments like jumbo frets and Graph Tech hardware, this is a Strat for the ages; a Strat for those looking to push musical boundaries.

For more info, keep reading at Fender.

Marshmellow Skies employ KRK for state-of-the-art Dolby Atmos mixing

Led by GRAMMY®-winning Record Producer and Engineer Ken Caillat, Chief Engineer Claus Trelby and Business Manager Nitanee Paris, the studio aims to elevate the musical experience for both artists and listeners, using KRK to do that.

Read all the latest product & music industry news here.

In response to the increasing demand for immersive audio, the studio underwent a comprehensive redesign.

“We built a new studio from the ground up, designing the control room specifically for immersive audio mixing,” says Trelby.

“Our innovative setup includes KRK V8 and V6 Studio Monitors and KRK Subwoofers, which together ensure reliability across all volume levels. This allows artists to be fully immersed in the dynamics of their music as they create.”

Key features of the new studio include a meticulously designed control room and a reference theatre with a 7.1.4 configuration, which enables rich audio experiences during sessions.

“We also have a 9.1.6 setup with the KRK V8s on the horizontal and the V6s above us, along with two subwoofer cabinets on a single channel. The KRKs are great and able to handle the demands of both low and high-volume levels,” emphasised Trelby. “Working in such a space inspires creativity and aids in the transition to immersive audio formats.”

View this post on Instagram

A post shared by Ken Caillat (@marshmellowskiesstudio)

Much in the same way Marshmellow Skies have employed KRK, V8 and V6 studio monitors paired with KRK subwoofers create an excellent foundation for Dolby Atmos mixing and monitoring. The V8s could serve as your primary left/right speakers, delivering precise midrange clarity and detailed high-frequency response essential for critical listening. Their 8″ drivers provide adequate low-end extension while maintaining accuracy across the frequency spectrum.

V6 monitors work perfectly as surround and height speakers in an Atmos setup. Their compact 6-inch design offers consistent tonal matching with the V8s while fitting easily into ceiling or wall-mounted positions. This tonal consistency across all speakers is crucial for seamless panning and immersive soundfield creation.

For local KRK enquires, keep reading at Jands.