WATCH: Who is Eric J. Dubowsky?

Eric J. Dubowsky, an award-winning mixer, producer and engineer has built a successful career through his passion for music and the technology that helps capture it. He sat down with Sennheiser to discuss his very first Neumann U 87 microphone, his recent love of Sennheiser’s HD 490 PRO headphones – and the dozens of artists he’s worked with in between.

Read all the latest product & music industry news here.

Dubowsky’s journey into the recording industry began with an early love of music, fostered by a family of musicians and a constant exposure to sound. Although an accomplished musician in high school and college, it was the art of capturing sound that ignited a lifelong passion of studio recording for Dubowsky.

Greene St. Recording

He began his career at Greene St. Recording in New York City, an iconic studio that was pivotal in shaping the sound of hip-hop and electro in the 80s and 90s. It was here, working alongside producers including Rod Hui (Run-D.M.C and Public Enemy), Nick Sansano (Sonic Youth) and John Robie (Afrikaa Bambaataa) that Dubowsky developed his foundational understanding of audio engineering. “It’s about the low end,” he recalls. “Drums and bass that hit hard – a principle that translates across every genre I’ve worked on.”

From these early days, Neumann microphones became synonymous with his work. “The first real mic I bought was a Neumann U 87,” he says, reflecting on how this iconic piece of gear made him feel like a true professional. To Dubowsky, Neumann is inseparable from the history of recording, embodying both the timeless and the contemporary. “They give me character when I need it and transparency when I don’t,” he explains.

Neumann microphones

Reliability is a cornerstone of Dubowsky’s choice in gear. “I don’t have time for equipment that doesn’t work perfectly,” he says, emphasising Neumann’s reputation for consistency. “It’s all about sound quality. Their microphones don’t just reproduce sound—they bring it to life.”

Over the years, Dubowsky has applied Neumann’s iconic sound to a diverse array of artists. On projects like the Teskey Brothers’ ARIA-winning The Winding Way, Dubowsky collaborated with engineer Wayne Connolly, again relying heavily on Neumann mics. “The U 67 was essential for capturing that timeless warmth,” he says. He also notes how the KM 86, once relied on by Motown, remains a favourite for its versatility and was the cornerstone of the drum sound for this record.

Alongside his arsenal of Neumann’s KM 86, U 47, U 67, U 87 microphones, Dubowsky also leans on Sennheiser’s HD490 headphones, and KH 310 monitors. Combined, these tools have transformed his workflow, allowing him to experiment with textures, depths, and atmospheres, while achieving perfect vocal placement.

For local Sennheiser enquiries, keep reading at Sennheiser Australia.

beyerdynamic and their growing ranging of ANC products

beyerdynamic create solutions for every listener. Whether watching a series on a packed commuter train, working remotely at home or enjoying sport in the great outdoors: the AMIRON 100 and AMIRON 300 in-ear versions, along with their AVENTHO 300 over-ear wireless headphones offer a wide selection to suit every taste.

Read all the latest product & music industry news here.

AMIRON

AMIRON 100 – Starting with the entry level AMIRON 100, it delivers (ANC), Bluetooth 5.3 with LE Audio, Multipoint connectivity, 6 high-quality microphones for calls and up to 35 hrs of battery run time with the included charging case. AMIRON 300—the flagship in-ear AMIRON 300 is equipped with powerful 10 mm drivers, high-end codecs (LDAC, AAC, SBC) and Hi-Res Audio functionality for sound purists. Delivering up to 38 hrs of battery run time via a QI-compatible charging case that also features fast charging. Ten minutes in the charging case offers two hours of music enjoyment.

AVENTHO 300 – Dolby Atmos with Dolby Head Tracking & a lot more. In addition to Dolby Atmos the AVENTHO 300 features the German made STELLAR.45 driver (used in the DT 770 PRO X , DT 700 PRO X & DT 900 PRO X studio headphones) in combination with outstanding audio codecs (AAC, aptX™ Lossless, aptX™ Adaptive, LE Audio). With fully adaptive (ANC) for maximum noise cancellation and up to 50 hrs of battery run time you ready to go 24/7.

beyerdynamic App

The AMIRON 100, AMIRON 300 & AVENTHO 300 all use and interface with a newly developed beyerdynamic App that lets you manually customise your EQ preferences, Noise Cancellation settings and control settings.

For local beyerdynamic enquiries, visit beyerdynamic Australia.

Neural DSP announce new X Plugin and Quad Cortex update!

Neural DSP today announced the introduction of significant updates for its award-winning Quad Cortex Floorboard Amp Modeler. CorOS 3.1.0 and Cortex Control 1.2.0 are now available, offering expanded features, functionality, and plugin compatibility. Specifically, CorOS 3.1.0 introduces full Quad Cortex support for two of Neural DSP’s popular plugins: Fortin Nameless Suite X and Soldano SLO-100 X. Additional Neural DSP plugins will be compatible with the Quad Cortex as their corresponding CorOS updates are released.

Read all the latest product & music industry news here.

“CorOS 3.1.0 and Cortex Control 1.2.0 showcase our relentless drive to keep the Quad Cortex at the leading edge of possibilities for the guitar,” stated Dan Davies, Neural DSP Chief Marketing Officer.

“CorOS 3.1.0 is laden with even more features, amplifiers, overdrives, and effects that further establishes the Quad Cortex as the market’s leading solution and a must-have for guitarists, bassists, and other musicians.”

The award-winning Quad Cortex is the world’s most powerful floorboard amp modeller offering limitless tone-shaping options and premium sound quality, all in an ultra-portable form. It has become the go-to choice for top artists due to its unmatched sound quality, reliability, and versatility both on stage and in the studio. With CorOS 3.1.0 and Cortex Control 1.2.0, its capabilities are further expanded.

For local Quad Cortex enquiries visit Australis Music, and for plugin and software info keep reading at Neural DSP.

Mixdown’s 10 greatest hardware equalisers of all time: Part Two

For those of you paying attention, we recently dropped Part One of our take on the 10 greatest hardware equalisers of all time, with five distinctly different equalisers, each sporting wildly different designs and characters of their own.

If there is anything to be learnt from the list so far, it’s that like classic hardware compressors, the EQ landscape is an incredibly diverse one, full of unique topographies and distinct sonic fingerprints. Whether taken from consoles of old or neatly housed in their own 500 series racks, whether boasting mind-bending flexibility or lightly brushing up against our source material, each of these equalisers serves a purpose, but what about the final five? 

Read all the latest features, columns and more here.

None of these magnificent beasts are here by coincidence, favouritism or merely to fill the void-but rather for the immeasurable imprint they have left on recorded music history. 

Part Two, the race to the top spot, we unveil our pick of the very best hardware equalisers.

5. Chandler Limited Curve Bender

We start off Part Two with a modern take on a serious bit of console history. Based on the EQ section from the coveted Abbey Road Studios EMI TG 12345 console from the late 1960s. This transistor-based console was a departure from the previous REDD valve based consoles at Abbey Road, and the TG 12345 would play home to the recordings and mixes of such artists as The Beatles (Abbey Road), The Shadows, and Pink Floyd (most notably on the latter’s Dark Side of the Moon) among a murderers row of other classic albums in rock and pop history. 

Decades on from the inauguration of this console, Chandler Limited teamed up with Abbey Road Studios gaining the exclusive rights to recreate some of the most famous recording equipment the world has ever known. Wade Geoke, the genius mind and founder of Chandler Limited wanted to take the far more stripped down EQ section of the original TG 12345 console, bringing it into the now and fleshing it out with additional EQ bands, shapes, filters and so on. The final result, the Curve Bender Mastering EQ.   

Certainly not exclusively used for mastering, this absolute leviathan of an EQ justifies its appropriateness on so many instruments and sources within a mix, it’s borderline unfair, the kind of magic this beast can impart sonically, without ever becoming overzealous. 

Compared to many of the others on the list so far (with the GML 8200 being an exception), the Curve Bender isn’t an EQ designed to be absolutely pinned with 15dB worth of gain, nor punctiliously corrective. Rather its natural inclination is as a gentle tone shaper, with small movements and broad brushstrokes across the frequency spectrum, quantifying to something beautifully organic, lush and musical. For the Curve Bender, the magic lies in its subtlety. It’s not a hatchet job after all. 

Four bands, a myriad of EQ points (51 in total), multiple switches for Q adjustment and the amount of boost/cut made available (ranging from either +/-5dB or +/- 13.5dB), shelf or bell switches for the low and high bands as well as high and low pass filters. Yep, that’s all you get. It’s pretty near impossible to make things sound bad with this thing. As mentioned earlier, its magic is in its subtlety, but if pushed will just grace you with more depth and power. The circuit topology and dumbfounding attention to detail under the hood is truly a work of art and gives a glimmer of insight as to why this EQ sounds the way it does – smooth, soft, rich, glowing. 

Notable artists and tracks with a sprinkling of Curve Bender magic include Adele (Rolling in the Deep), White Stripes (Icky Thump), The Strokes (Pink Martini), The Lumineers (Cleopatra), the list goes on and on. 

4. Neve 1073

The EQ that has saved thousands of assistant engineers and the ultimate concealer of questionable mic technique, of course the 1073 was going to make an appearance on this list.

One of the founding fathers of modern recording, Mr Rupert Neve infamously pioneered some of the most revered electrical audio circuits the world has ever known. His transistor based designs of the late ’60s and through the ’70s entirely revolutionised the sound of recorded music of the time and still influences the sounds and approaches to modern recording to this day. 

While his Class A transformer-based preamps are monolithic in their sonic signature, their accompanying equalisation sections were, and still are, equally as bold and beautiful.

While there are numerous Neve EQ circuits to choose from, and a quick search of the countless audio forums will no doubt argue that there’s “better” more “versatile” Neve EQs out there, the 1073 module is without doubt the most identifiable, widely used, and talked about. 

Aside from the lauded Class A preamp section, the relatively simple but incredibly powerful three band EQ section has shaped the tones of literally thousands of records. The low band shelf offers four selectable frequencies, each providing a sweet spot to add punch, weight and thickness to a sound source, from kick drums, through to snares, basses, guitars, vocals and so on. The six position mid-band is a bell curve and provides wonderful control and shaping of the midrange with a wide range of frequencies available, while the high frequency shelf is fixed at 12kHz, with a healthy amount boost or cut available for sweeping the top end, without leaving brittle artefacts. The high pass filter offers four frequencies and works oh so musically, particularly when used in conjunction with the low frequency band. 

The simplicity of the 1073 EQ is absolutely part of its charm, with its broad, musical bandwidth making it one of the most musical sounding EQ’s ever created. It’s thick, deep and never harsh. An absolute dream to record through or for using later in post, the 1073 is a true workhorse and staple of the modern recording studio. Notable users include Joe Chiccarelli, Ed Cherney, Jacquire King, Ryan Hewitt, Andrew Scheps, and so on goes the list. 

3. API 550A/560

Ok, ok, while we technically have two EQ’s coming in at number three, the API 550A and 560 were essentially released as a pair, two peas in a pod, forever interlinked. Not to mention these EQ’s (along with the consoles they were installed in) essentially shaped the ‘larger than life’ sound of American rock in the 1970’s. No biggy. Cool, now that that’s out of the way, let’s talk API.  

Audio pioneer Saul Walker designed these coveted EQ circuits in the late 1960s, bringing the world his custom 2520 discrete Class A/B operational amplifier combined with his Proportional Q circuit. Proportional Q, eh? Something that makes these EQ’s rather special and intimately identifiable in terms of sonic character. In a nutshell, as you boost or cut more in each band, the Q becomes proportionally sharper. And in gentler settings, the Q is more broad.

While they may share a release date and console, the 550A and 560 are very much fraternal twins and can be identified as below:

550A – A three-band parametric EQ, with crossover frequencies per band and seven fixed frequencies per band. 12dB boost or cut. High and low bands can be switched between shelf and peak shapes and a band-pass filter switch (50Hz and 15kHz) can be engaged for rolling off lows and highs simultaneously.  

560 – A 10-band graphic EQ providing +/-12dB of gain per band. Like the 550A, the 560 enjoys the benefits of the unique proportional Q design, and being a 10-band graphic, can create some wonderfully broadband boosts or cuts with a sharp, focused frequency centre which softly (or sharply) slopes away, depending how many bands of the EQ are engaged and to what degree of boost or cut. I couldn’t recommend digging into experimenting with this more! 

While separate units, both the 550A and 560 EQ’s were installed together or interchangeably into vintage API consoles of the 1970s, before becoming a favoured EQ of studios across the globe. Their distinct punch, upfront character and ability to quickly and easily shape sounds has made them a mainstay in the world of hardware EQ, whether installed in a console old or new or found in a 500 series rack (or in the case of the 550, a dual/stereo 1RU rack version). Notable users include Joe Chiccarelli, Vance Powell, Peter Katis, Darrel Thorp amongst many more. 

2. Pultec EQP-1

Sometimes you just can’t beat an absolute classic and the Pultec EQP-1 is everything that encompasses classic, vintage charm. If the LA-2A is the quintessential ‘Classic’ studio compressor, than the Pultec EQP-1 is undoubtedly its EQ equivalent, casting one of the most identifiable veneers in the studio landscape. It’s also one of the most mysterious pieces of equipment out there, its head scratching design resulting in all kinds of beautiful accidents on the quest for sonic nirvana.

For starters, there really is something in vacuum tubes that gets even the most “modern” producer excited. Whether it’s additional harmonics, saturation or helping colour, something happens to signals when they pass through the EQP-1 that seems to just work. Something beyond just mere cutting and boosting.

Introduced in 1951 by company owners and founders Ollie Summerland and Gene Shark, the Pultec EQP-1 was the world’s first passive program equaliser and to this day its influence is still being felt in any number of modern passive EQ designs and plugin emulations.

There really is something truly magical about this EQ, even when the EQ section isn’t engaged, the tube topology adds character and charm to sound sources like no other piece of hardware. And who would think such a simple set of controls would still be so widely used seventy plus years on. 

The basic layout of the EQP-1 looks simple enough at first glance, with low band and high frequency bands, with the most rudimentary set of controls, by today’s standards at least, remember, this is the 1950’s. 

Boost and attenuation controls are available for the low frequency band, with the high band only being able to boost, but also provides an additional bandwidth control. The low band has four frequencies to choose from, 20Hz -100Hz, whilst the high band has seven, being 3kHz, -16kHz. The attenuation section for high frequencies can be selected at either 5kHz, 10kHz or 20kHz. 

Bringing a smoothness and incredibly musical tonality to any sound source directly or when put on the master buss, the EQP-1’s distinctly tube harmonic character is unrivalled. The broad range of the low band adds roundness and heft to low frequency sources, whilst the high frequency band, depending on where you set it, can add engaging presence in the upper-mid range or sparkly, silky smooth air to the tops. 

The final and perhaps most mysterious element of all lies in its ability to both boost and attenuate simultaneously, producing a whole manner of interesting and useful results.

Although not recommended in the manual, due to the boost gain being slightly higher than that of the attenuation, serves as a perfect storm for unique undulating, EQ curves. 

When dialled in correctly, the subsequent tone shaping this allows for is truly something to behold, with engineers passing on different Pultec ‘tricks’ from one generation to the next. This ability to create these shapes by deliberately misusing has very much become part of the charm and folklore surrounding this EQ. Notable users of the EQP-1 include Bob Clearmountain, Jimmy Douglas, Andrew Scheps and countless others. 

1. SSL 4000 E/G

It’s been a journey through old and new, from tone shaping behemoths to surgically precise sculptors, we’ve counted down through the best of the best in the world of equalisers. But, as all Greatest of All Time lists do, there can only be one. One EQ to rule them all, one EQ to bind them. 

Even if you didn’t know it, I can almost guarantee you’ve heard the sound of an SSL 4000 E/G console, and quite frankly you’d have to have been living off the grid to have not heard a song or record that hasn’t had this console’s distinct sonic character imprinted upon it. 

The Solid State Logic (SSL) 4000 series consoles held the lion’s share of hit records throughout the 1980s and into the 90s, and without doubt completely changed the world of recorded music. 

Aside from being one of the most feature-packed channel strips of its time (and still to this day I might add), it’s the SSL 4000’s EQ that really shines through as something exceptionally special. It was the introduction of the 4000 E in 1983 that the famed “Black Knob” EQ made it stamp. To start, the EQ section was created in collaboration with none other that Sir George Martin (producer of The Beatles), so already this EQ had some golden ears attached to it. The four band EQ section is feature packed, including sweep-able low and high bands, switchable between either shelf or bell shapes, two sweeping mid-bands with a wide Q range for ultra precise cuts or broad musical boosts, plus, high and low pass filters. 

The incomparable spank and excitement the EQ brings to a multitude of sound sources is really what gets people excited, when it comes to SSL EQ’s like the G and E series. One doesn’t have to do much for the EQ to really start singing and its ability to be pushed hard allows engineers, producers and mixers to really dig in and get aggressive when need be, allowing sounds to be pushed upfront without ever getting too unruly. This kind of front and centre clarity is the 4000’s calling card. 

The EQ’s midrange section is quite famous for its musicality and one of the go-to mix recipes in modern mixing practice, particularly for getting guitars to glue and stick in the mix. Also of note is the EQ’s bottom end and its ability to add a distinct heft, weight and aggression to low end instruments, combined with nifty shaping ability and the presence of both shelf or bell options to get the desired effect. 

Notable users of the SSL 4000 series consoles include none other than Bob Clearmountain, Trevor Horn, Young Guru, Michael Brauer and famously, brothers Chris and Tom Lord-Alge (aka CLA and TLA), not to mention the legions of other top engineers, mixers and producers.

While the big console era of recording might be behind us, it is SSL EQs that have also made the smoothest transition into the plugin market, with the various G and E series emulations becoming a mainstay in in the box workflow, with abridged, parred backed versions of their iconic layout also finding a home on modern SSL creations like the SSL SiX and UC1 plugin controller-a testament to their position as a mainstay of the professional production workflow. 

It’s for these reason and many more, that the mighty SSL 4000 EQ is our pick as the greatest hardware EQ.

Check out Part One here! 

The most iconic Fender Stratocaster players and their unique Strats

The Fender Stratocaster has become ubiquitous with modern music. Since its inception in the late ’50s, the Stratocaster has been a go-to for some of the most unique guitar players in history, spawning an endless amount of unbelievable Fender Stratocaster players.

What’s more, the Stratocaster was designed as a more dynamic instrument than the Telecaster, with three pickups instead of two, and a five-way switch to toggle between the pickups or select multiple at once. It features two tone knobs, a master volume and a tremolo for more expression, tone sculpting, and customisation with wiring.

Read all the latest features, columns and more here.

Building on the customisable nature of the tone itself, Fender prides themselves on being supremely customisable, from simple pick guards colours to push/pull pots, different caps, pickups, and saddles to name a few easy swaps. Fender Stratocaster players throughout the decades have pushed the limits of these customisations and created their own incarnations of the Strat that blends form and function into entirely new and unique beasts. 

H.E.R.

H.E.R. is a newer artist compared to some of the players on this list, but is by no means creating any less of a legacy. H.E.R.’s unique blend of rhythm ‘n’ blues, neo-soul, jazz, and funk, make the Stratocaster an easy choice, offering both warm, full sounds, and poppy, syncopated notes where needed.

What makes H.E.R.’s Strat unique is the anodised pick guard – available coupled with the Chrome Glow finish that moves and sparkles like a rainbow after drizzle. The anodised aluminium guard gives a little more bite and attack, brightening up the sound that bounces back into the pickups.

Eric Johnson

On the opposite end of the tonal spectrum is Eric Johnson’s Thinline Stratocaster, the chambered body and F-hole bringing a richer midrange than the rest of the solid body range.

An F-hole doubles as something for extra resonance to bounce around in, making an acoustic quality present within a more traditional sound. 

Ritchie Blackmore

Speaking of tradition, it’s difficult to go past Ritchie Blackmore of Deep Purple fame.

It’s become a rite of passage, a tradition, for guitar players starting out to learn ‘Smoke on the Water’. The iconic, seemingly simple riff was written by Blackmore after watching the smoke from a fire drift across Lake Geneva in 1971.

Blackmore’s lead playing is somewhat overlooked because of the legacy that the ‘Smoke on the Water’ riff leaves behind, but his experimentation with scalloped frets speak to his prowess at higher frets as well.

Blackmore’s signature model features a graduated scalloped fretboard, with a mild concave between the frets instead of a flat fretboard, allowing the player to really grab ahold of notes per se. 

Yngwie Malmsteen

If you want to talk about scalloped frets though, it’s difficult to look past Yngwie Malmsteen.

Yngwie’s neo-classical shred is the stuff of legend. Inspiring whole genres alone, Yngwie is well-known for playing a classic Buttercream Strat with an entirely scalloped fretboard, bringing the Strat tones into the world of heavy metal and shred. 

Jimi Hendrix

Yngwie, however, wouldn’t be much without the influence of Jimi Hendrix.

Hendrix is one of the most famous guitar players of all time. Famously left-handed, his Strats were right handed models – far more affordable at the time, strung upside down.

What this did was flip the headstock for different resonances above the nut on the lower strings, while also flipping the angle of the bridge pickup, adding more twang to the low strings and warmth to the high strings.

Hendrix inspired countless players, from Nile Rodgers to Stevie Ray Vaughan to Tash Sultana.

Tash Sultana

Tash’s unique Strat features a simple but effective modification: a humbucker. Single coils can be noisy and thin, and a humbucker bucks the 60-cycle hum while adding extra girth and punch to an already great tone.

Tash’s Strat also features a custom red colour with gold hardware to offset the pearl pick guard.

Stevie Ray Vaughan

Stevie Ray Vaughan was a prodigy of the blues, and worked harder for his notes than anyone else, thanks to the .13 gauge strings (and beyond if you believe everything you read!) commonly found on his Strats.

These provided a particularly punchy and bassy tone, while the uncommon (at the time) pau ferro fretboard on his Strats offered the clarity and attack of ebony.

Nile Rodgers

Nile Rodgers wrote some of the most iconic music in disco and funk, having penned parts for Chic, Sister Sledge, and David Bowie.

Nile’s famous Strat was a 1960 hardtail Strat that he refinished himself in Olympic White. It featured a ‘59 neck and a slightly smaller alder body than a traditional Strat, and more contoured grooves.

Cory Wong

While Nile Rodgers paved the way for what we now call disco, players like Cory Wong continue to push the boundaries of the funk genre, while blending others into it.

Possibly inspired by Nile Rodgers, Cory Wong’s signature Strat is a ’70s-style Strat with a slightly smaller body shape and contour for maximum comfort.

Howard Reed Jr. H.A.R. Strat

While it’s easy to discuss all the new and exciting modifications – where did all that start? Possibly with one Howard Reed Jr. of Gene Vincent’s backing band, the Blue Caps.

Ordered in 1955, Howard Reed Jr.’s Strat was all black with a white pick guard, a colour unheard of before then, the Strat only having been commercially available for one year, and mostly in two-tone-sunburst.

Reed also embellished his customised Strat with his initials H.A.R. so the audience would know who he was.

So there you have it, 10 Fender Stratocaster players who’ve pushed the boundaries of music with their customised and refined Strats.

It’s not to say that a Strat alone isn’t enough to do plenty, but unique sounds take a unique approach, and sometimes custom hardware, pickups, and even colours can elevate the instrument to something truly unique and truly yours.

Head to Fender to surf for more Strats from your favourite Fender Stratocaster players.

Amplitube announce Anniversary Limited Edition TONEX pedal!

IK announces a collector’s-grade, limited edition TONEX Pedal. Handmade in Italy in a custom white finish, the pedal is pre-loaded with 150 Premium Tone Models of the best vintage and modern tones. Created by select Tone Partners, including The Studio Rats, Amalgam Audio, Worship Tutorials, Tone Junkie, and Jason Sadites, this pedal offers a unique palette of sounds curated exclusively for the TONEX anniversary.

Read all the latest product & music industry news here.

To celebrate, they’re offering a limited-edition TONEX Pedal. Maintaining all the features users love, the TONEX Pedal Anniversary edition is handmade in Italy with a custom white finish and is only available while supplies last.

• Handmade in Italy with a custom white finish
• Pre-loaded with 150 Premium Tone Models, curated by select Tone Partners
• Access to ToneNET, the most popular tone-sharing site ever
• Includes 1,100 Premium Tone Models + 30,000 free community rigs
• Exclusive VIR™ multi-IR cabinets and custom IR loader
• Noise gate, EQ, compressor, 2 delays, 5 modulation FX, 6 stereo reverbs for a powerful all-in-one solution
• Full MIDI control and expression pedal input for seamless rig integration
• Includes TONEX MAX software for modeling, playing and organizing tones
• Comes with AmpliTube 5 software for complete tone-shaping and recording

This collector-grade pedal comes pre-loaded with a custom TONEX Anniversary Collection of 150 Premium Tone Models curated by select Tone Partners. It’s shipping now and happening just in time for the new TONEX FX, a firmware update that allows you to create your own signature sounds and presets without needing other effects pedal.

For local IK Multimedia enquiries, visit Sound and Music.

The history of the devil’s tritone, told through 10 key tracks

The devil’s interval – diabolus in musica – or simply the tritone is a one-of-a-kind interval. You’ll have likely cringed to its characteristic piercing dissonance that’s notoriously rumoured to have been banned in middle age churches.

Tritone

Today, we’re going to explore where this three tone interval has cropped up in a range of genres over more recent decades – where the connection always lies in the creation of movement and tension.

‘Prelude to the Afternoon of a Faun’ – Claude Debussy (1894)

The tritone exploded into classical music during the romantic period, with composers creating bone-chilling and spooky atmospheres for audiences. That said, Debussy’s arrangement here actually makes rather beautiful use of the tritone. The opening flute line almost covers up the harmonic discrepancy of a descending tritone with its playful use of the chromatic scale, painting us a picturesque woodland bustling with wildlife.

Devil’s interval

The tritone is usually referred to as an augmented 4th in classical music, as opposed to a diminished (or flat) 5th down the track, particularly in jazz – an interesting divide.

Read all the latest features, columns and more here.

‘Blues for Alice’ – Charlie Parker (1951)

Here we jump right into an example of tritone substitutions – a staple in the world of jazz, achieved by replacing a dominant 7th chord with another dominant 7th chord with its root note one tritone away. You’ll hear flurries of them throughout the bebop years, thrown into countless ii-V and 12 bar blues arrangements, which opened new avenues of harmonic freedom for improvisation.

This is a great example of both and you’ll hear Parker’s characteristic licks throughout this recording. Ultimately, tritone substitutions provided some of the groundwork for John Coltrane to later develop his changes, but I’ll let you deal with that in your own time.

‘Girl From Ipanema’ – Antonio Carlos Jobim (1962)

A little ways down the road we run into one of my favourite features ever – watch Sinatra light up a cigarette before lagging his vocals so far behind Jobim’s staccato guitar plucks. It’s an amazing collision of American pop and jazz with Brazilian Bossa Nova recorded live in 1967.

The original song utilises the same tritone substitution here as a turnaround. This is usually subbed in on the fifth of the scale, so here in F major you replace a C7 with a Gb7. Harmonically, it works because these two chords share two notes (E and Bb), which just so happen to be a tritone as well.

Tritone examples

‘Purple Haze’ – Jimi Hendrix (1967)

Hitting back with one of the greatest songs of its era and a staple in rock music, Hendrix wrote the lyrics in response to a dream he had where he was walking under water surrounded by ‘Purple Haze’. He claimed this had nothing to do with LSD and it was instead Jesus that saved him from the dream.

Aside from the fact that the Hendrix chord – E7#9 – contains the tritone D and G#, what we’re interested in here is the ironic use of the devil’s interval, E and Bb, used to open the song before Hendrix launches into his iconic guitar riff.

‘Black Sabbath’ – Black Sabbath (1970)

Perhaps the tritone’s proudest owners we find these days are when we begin to look at heavy metal music. It’s speculated that artists first gravitated towards using the tritone simply because of its connotations with the devil, but guitarist Tony Iommi has said in interviews that this was not at all his intention when writing for Black Sabbath. He comments that to him the tritone simply sounded right – it certainly fits the bell doth toll opening track of Sabbath’s self-titled.

These examples are comparable to the earlier uses of the tritone found in tense classical music, though, the musicians here tend to stir in its unease a while longer.

‘Station to Station’ – David Bowie (1976)

What makes the tritone so special is that it’s the midpoint of all the intervals. For example, when you play an E octave with a Bb in the middle, there’s the same number of semitones between the first E and the Bb than there is between the Bb and the next E. Its dissonance perpetually stings as you play octave after octave, ascending or descending.

Here the tritone is hammered away periodically for almost half of Bowie’s 10-minute title track. As unsettling as it is for a time, you’ll quickly get lost in its driving feel.

‘The Simpsons Theme’ – Danny Elfman (1989)

Perhaps the most iconic of all the tunes listed is the theme from our beloved cartoon. Elfman constructs his most famous composition around a Lydian Dominant scale, which is the same as a major scale with an augmented 4th and a flat 7th substitution. It’s one of the few scales that actually contains a tritone, which lends itself to sound great over dominant 7th chords.

No wonder that both the opening lyrics and little flutters between melody lines are tritone intervals – pulling us deep into the unsettling world of the Simpson’s family. Elfman also throws in a few fills using the whole tone scale, which you guessed it, contains the tritone as its midpoint.

‘Woo Ha!! (Got You All In Check)’ – Busta Rhymes (1996)

Particularly because of its history in blues and jazz music, it’s unsurprising that the tritone has popped up across hip hop.

There’s very little resolution in this track, rather a perpetual bass loop that keeps stepping between root notes, semi-tones and the tritone – with great off key ‘yah, yah, yah yaaah’s from Busta to throw you straight into the deep end. Also make sure to check out the remix featuring Ol’ Dirty Bastard and the insane music video to match.

‘Bitter Peace’ – Slayer (1998)

The opening track to the album Diabolus In Musica is Slayer’s testimony to the tritone – for the Latin translation, “the devil in music” is recognised as Slayer’s most experimental album to date.

The opening guitar riff sets you up for the contents of the rest of the album, recorded mostly in muddy C# tuning and relying on tritones just about everywhere – an honest and true reconciliation of its history while continuing to push the boundaries of heavy metal.

‘Yellow Brick’ – Henry Wu (2015)

Our final song to finish off – another influenced heavily by jazz. Henry Wu, better known as Kamaal Williams, is fast fusing the fabrics of the UK’s music scene. I included this simply because of the vocal sample at the end of the track – for the life of me I can’t figure out who it is.

It features a number of times throughout the Good Morning Peckham EP along with Williams’ own spoken word, and is a great way to sum up what the tritone is all about – tension.

“The ears of people react to wrong. The audience reacts to wrong, and what you have to do, you have to throw that little wrong in, then you make it right, that messes them up.”

Keen to keep reading? Find more history here.

Mixdown’s 10 greatest hardware equalisers of all time: Part One

The greatest hardware equalisers are tough to narrow down as the humble units are without doubt one of the most important and overworked weapons in an audio engineers’ arsenal. Just stop for a second and consider how many times we reach for it in an average session. Hundreds? Thousands maybe? Countless nano-second long parameter tweaks-notching out troublespots, reinforcing important harmonics, subtly bringing out detail where it was previously obfuscated. The A/B comparisons, gain matching, and bypassing.

Read all the latest features, columns and more here.

They are some of the most personal and interactive pieces of equipment in the entire recording chain and while they might not attract the same sort of coveted or transcendent associations that outboard compressors have formed over the years, hardware equalisers certainly do hold a particularly special place within the upper echelons of the audio community. 

Varying from broadband, musicality to razor sharp sonic scalpels, we’ll be charging through the hardware units that simply stand above the rest, their unique voicings having helped shape the sound of thousands of records we’ve all come to adore, along with some of the most awe-inspiring and innovative topographies in studio history. Each name mentioned hasn’t made its way here through fanfare alone but rather, the unquestionable quality and inspiration they invoke upon those lucky enough to lay hands on them. 

Let us embark upon the great journey that is – Mixdown’s Ten Greatest Hardware Equalisers of All Time. 

Harrison 32C

The year was 1975 and Dave Harrison had just introduced the 32-Series console to the world. Having initially worked for and instigated in-line console designs for MCI, Harrison, wanting to push his designs further, branched off to form his own console company – Harrison, which brought the world the first 32-bus console. 

Famed for its particularly colourful and inimitable EQ design for its time, the 32C’s EQ section pre-dated the kind of fully parametric equalisers we take for granted today, but its proportional Q response was undoubtedly parametric in nature, serving as a precursor to the kind of limitless tweakability that would follow. 

This meant smaller boosts responded in nice broad and musical strokes, but when dialled in more aggressively, the Q sharpened, making for more surgical cutting or narrower boosts if and when required. This, paired with its unmistakably silky top end, served as the secret sauce behind the signature, hit-making Harrison sound, in turn creating one of defining sounds of the late ’70s and ’80s. 

Each of the four EQ bands are sweep-able, with crossover frequencies between each corresponding bands and a +/-10dB range. By default, the low and high bands are shelving types, but can be switched to become bell shapes like the two mid bands, and with such wide sweep-able bands allows for very musical sound curves and shaping of whatever source material is fed through them. The high and low pass filters complete the EQ section, again each boasting astoundingly broad frequency ranges. 

The control that this allowed for was akin to pop nirvana, with notable artists like Michael Jackson (Thriller, Bad), Queen and Paul Simon (Graceland) all opting for the Harrison 32c console and its forward-thinking EQ section. 

Trident A-Range

Birthed in the infamous Trident Studios, London, the original Trident A-Range consoles are steeped in rock ‘n’ roll history, having left a distinct sonic imprint on countless seminal records from both British and American artists throughout the 1970s and ’80s. 

The facility itself, one of the most in-demand of the era, had long earned a reputation for being at the forefront of studio technology, and in 1971, newly appointed studio manager, Malcom Toft, was eager to stay on the cutting edge, commissioning a new 24-track track tape machine for the main room at Tridents St. Anne’s address.

This would require a new console and after being unable to find a manufacturer to meet their requirements, Toft and Barry Porter took it upon themselves to design and build a custom console for the studio, and thus – the Trident A-Range was born. 

There were only 13 of the Trident A-range original consoles made initially, and with their unmistakable eggplant colour, these original 13 have developed an almost mythical status amongst studio boffins who salivate over their incredible harmonic character and inductor-based EQ design. The momentum has undoubtedly lived on, with both Trident and Toft still making consoles to this day. 

While the A-range consoles were renowned for their gorgeous, rich sounding preamp section, with minimal distortion in the audio path as noted by Toft, the EQ section drew particular attention to its users, and where the vibe and “magic” of the console really was.  

The EQ section immediately stands out with its linear faders controlling a +/-15dB range of the four EQ bands, each of which have four selectable frequencies, with the low and high bands being shelves, and the two mid bands being bell curves. The high and low pass filters each have three frequency options, but uniquely can be selected simultaneously, creating some incredibly unique filter shapes; something that the EQ section became famous for. 

Each frequency in the EQ section was supposedly picked and tuned by ear by Toft, other Trident in-house engineers and notable producers and engineers from outside the studio, which was refined over the years. The distinct sound and unique design of the console acquired remarkable levels of attention in the professional recording community, with later A-Range models being famously found in studios such as Cherokee Studios, Los Angeles.  

Notable artists to have recorded and/or mixed on an A-Range console include the likes of David Bowie, Queen, Elton John, Rod Stewart, Frank Sinatra, T-Rex, among countless others. 

Maag Audio EQ4

Moving away from EQs of famed channel strips for a second, next in our list is the magical blue box, the Maag Audio EQ4. Albeit a more modern piece of 500 series outboard (also available as a 1RU stereo mastering unit, the EQ4M), the EQ4 does indeed have its own rich history, stemming from the eminent NTI EQ3 of the ’80s. 

Designed by one of the world’s premier audio perfectionists, Cliff Maag, it’s fair to say the EQ4 isn’t exactly a “workhorse” EQ in the sense that it isn’t from the parametric, surgically precise deft-touch school of EQ, like some of the others on this list. What it does however, is offer something that no other hardware EQ really does, hence why it’s made its rightful home on this list. 

At first glance, one might think this humble little blue box is a simple 500 series six-band equaliser. However, the five position Air Band (six if you include the off position) throws this initial impression right out the window, with the EQ4 providing unparalleled openness (and for lack of a better word ‘air’) to whatever is fed into it. It’s something that really does need to be heard to be believed. 

Even with whopping amounts of gain thrown at it, things never seem to get harsh or brittle, but rather just silkier and more musical. What’s more, even the 20kHz and 40kHz frequency selections (despite the latter being a whole octave above the range of human hearing) continue to bring an angelic breathiness and unspoilt clarity to proceedings, in a way which no other EQ has seemed to fully nail. This all combines to make the Maag EQ4 perfect for providing a sense of space and silky front to back separation for lead vocals, without the need to reach for a volume fader or ambient reverb –  absolutely ideal for the modern pop workflow.

The five lower fixed frequency bands have been carefully selected, with the 2.5kHz band being a shelf shape, and the 650Hz, 160Hz, 40Hz, and 10Hz (sub) bands being bells shapes. Each band offers +15dB of gain for boosting and -4.5dB for cutting, with the Air Band being boost only. 

The EQ4, unlike many other equalisers also boasts very little in the way of phase shift, a painstakingly detailed part of its design, keeping source material (and its relative phase relationships) very much intact. It’s absolutely a musical, tone shaping monster, with its famed Air Band having become synonymous with countless hit songs from artists such as Madonna, Justin Timberlake, Celine Dion, Pink and many, many more. A staple among the pros.

Undertone Audio MPEQ1

Easily one of the most versatile hardware equalisers ever created. The Swiss army knife, or dare I suggest, the Distressor of outboard equalisers would have to be the Undertone Audio MPEQ1, which is the brainchild of producer, audio guru, and Undertone Audio founder, Eric Valentine. For those unfamiliar with his credits, a quick search of the interwebs will be quite illuminating. 

Initially integrated into his own custom console before becoming available as a single rack unit channel strip (before sadly becoming discontinued), the MPEQ1 features the full equaliser section found in the console, as well as the custom mic preamp. While we could easily do a full article on just the mic pre alone, the EQ section is where things really fire up! 

The unit’s full Class-A design and 20V rails ooze everything there is to love about the vintage sound and design, paired with unreasonable amounts of modern flexibility. For example, both the high and low pass filters have abnormally wide frequency ranges. “Ok, cool guy, not exactly anything new there”. Agreed, but, each filter has variable slopes starting off at a gentle 6dB/octave, the filters can become wildly steeper and such, introducing varying degrees of resonant peaks cornered at the frequency the filter is set at. This combined with equalisers bands themselves becomes infinitely powerful, almost like what you would see in the world of analog synthesis.  

As for the four parametric bands, each band can more or less replicate the shapes of any famed vintage console. I think we can all fill in the gaps of the usual suspects here. This is achieved by the ridiculous level of control available on each band. Sure, there’s Q control (pfft, standard parametric stuff), but also variable shape control and the ability to switch between bell, cut and notch modes. Typically, each band allows for 15dB or boost or cut, but when dialling in certain shelf and Q combinations this range can be extended to as much as 30dB worth of boost or cut, or if in notch mode, more or less complete cancellation, aka -50dB of attenuation! 

A happy accident of the MPEQ1, which has turned out to be one of the most interesting and lifesaving features of the EQ section comes to the fore when in notch mode. Each band has the ability to adjust the phase of just that certain frequency range from which a particular band is set to. This becomes superlatively useful on multi mic’d sources like a drumkit, being able to perform a whole host of complex audio tasks like bringing the  low end of a snare drum mic back into phase alignment with the overheads, where a standard 180 phase flip just doesn’t cut the mustard. For a full appreciation of this incredibly unique feature an RTFM disclaimer has been inserted here. Enjoy! 

This beast of an EQ can pretty much be heard on anything Eric had recorded or mixed from the mid 2000’s on. Check out that discography and hear for yourself.

GML 8200

The last in Part One of our Greatest Hardware Equalisers of All Time list is none other than the GML 8200. 

Whilst these days we may consider ol’ parametric equalisers as mere cannon fodder, there was such a time in which even the most esteemed audio minds would scoff at the suggestion of variable Q or bandwidth. But in other circles of audio society, a young George Massenburg had other plans.

In a technical paper presented at the 42nd Audio Engineers Society convention in 1972, Massenburg introduced the audio industry to the words “parametric equalisation”, an absolute revelation, one that quite frankly flipped the world of audio on its proverbial head. Aside from glaringly obvious technological breakthroughs in his subsequent inventions, Massenburg also brought a philosophy to his designs and something which has carried right through to this, the GML 8200. Massenburg’s lifelong obsession with transparency in the Audio domain.

Unlike many high-end or professional equalisers of the time, and flying in the face of what so many self proclaimed “expects” might tell you, sometimes transformers aren’t always the best option for pure unadulterated audio. Sometimes, one doesn’t need unnecessary harmonics or saturation, but rather, as little interference and colouration as possible. It’s with this awareness that the GML 8200 is a completely Class A – transformerless design, with no interstage or coupling capacitors. 

The GML 8200 is as every bit as surgically precise and meticulously transparent as one might expect of a design borne out of such a delightfully puritanical ethos. Providing pinpoint accuracy and bountifully broad Q ranges across the five bands, the GML 8200 is equipped to tackle an equalisation task, with the overlapping frequency bands ranging from an infrasonic 15Hz to an ultrasonic 26kHz.

The low and high bands can also be switched from a shelf to bell curve, with +/-15dB of boost or cut available on each band. One of the most impressive parts of these equalisers is the minimal amount of resonance it imparts, even on the most heavy handed of EQ tasks. This pays particular dividends when performing surgical cuts to problematic frequencies, in turn leaving the rest of the frequency spectrum untarnished and with minimal artefacts. 

The GML 8200 can be found in countless studio outboard racks across the globe, with several finding their rightful  home at Blackbird Studios in Nashville, where Massenburg’s meticulously designed ATMOS room resides.

Check out part two of our greatest equalisers here! Be sure to check out Mixdown’s Greatest Compressors of All Time.

The 15 best MTV Unplugged performances of all time

Oh, the legacy of MTV and MTV Unplugged – On one hand, they’re the groundbreaking channel that helped to break some of the most important bands and genres of the ’80s and ’90s; and on the other, they’re just another platform for brands to spew bile in the slots between tacky reality shows and pop star drama.

However, if MTV ever got one thing right, it was with the series MTV Unplugged. Airing regularly from 1989 through to 1999, the program proved to be a huge cultural force throughout the ’90s, giving the opportunity for older artists to reinvent themselves and younger bands to prove themselves on the big screen.

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

Armed with acoustics and often performing to hushed crowds in intimate venues, MTV Unplugged was particularly seen as an essential vessel for bands in the grunge movement, and as such, is considered a holy relic of the grunge era. However, the show also proved to be a major hotbed for showcasing a number of other styles, with several hip-hop acts taking advantage of the show to prove their genre was so much more than just samples, bars and beats.

Today, we’re taking a walk through the holy pantheon of music television to uncover the 15 greatest MTV Unplugged sessions of all time, exploring the greatest moments of each set and their impact upon music today.

15. The Cranberries 

Some bands are just tailor made to shine in an acoustic setting, and there’s no better example of this than with The Cranberries’ MTV set. Performing a relatively short set of nine songs – sans covers – the Irish alt-rockers kept things simple and cranked out the hits, playing ‘Zombie’ and ‘Linger’ to a huge response from the crowd and even using the show to debut two new songs in ‘I’m Still Remembering’ and ‘Free To Decide’.

14. Midnight Oil 

Taking to the stage in 1993 to film an Unplugged set of their own, Australian rock heroes Midnight Oil certainly pulled no punches with their dynamite acoustic performance. Even in an unplugged setting, Peter Garrett still manages to contort and twist his limbs in tandem with his explosive vocal delivery on ‘Truganini’, and the band’s ridiculously tight performance of ‘Bed’s Are Burning’ is simply unbeatable.

13. Soda Stereo 

There’s a good chance you mightn’t have heard of Soda Stereo before, and if not, here’s a great opportunity to sink your teeth into what makes them great. Considered as one of the most important Latin rock groups of all time, the Argentinian power trio’s MTV Unplugged set is dripping with musicality, with the group somehow forgetting the acoustic-only memo for the majority of their set and flexing their mind-boggling instrumental prowess on cuts like ‘En La Ciudad De La Furia’ and ‘Ella Usó Mi Cabeza Como Un Revolver’ to make for an incredibly memorable set. If you know, you know.

12. Oasis

Filmed shortly after the release of What’s The Story Morning Glory?, Oasis’s MTV Unplugged appearance marked a pivotal point in the story of the group, with Liam Gallagher deciding not to play the show at the last minute due to a sore throat and forcing Noel to assume lead vocal duties. Funnily enough, Liam would later show up halfway through the set to heckle Noel and smoke cigarettes from a balcony, yet his absence turned out to be a blessing in disguise: Noel absolutely kills it as lead vocalist, and for many Oasis fans, the band had never sounded better in an acoustic setting.

11. Yo! MTV Raps

One of the earliest episodes of MTV Unplugged saw the production team take an unlikely gambit by pairing up with Yo! MTV Raps to showcase a variety of hip-hop artists in an acoustic setting, and against all odds, it paid off. A Tribe Called Quest’s rendition of ‘Can I Kick It’ is pure bliss, and De La Soul and MC Lyte’s own sets are certainly commendable, but the real talking point for this episode is undoubtedly LL Cool J’s roof-raising performance of ‘Mama Said Knock You Out’, with the MC’s untouchable energy setting a huge precedent for those who dared to follow.

10. Stone Temple Pilots

It’s a shame that Stone Temple Pilots’ appearance on MTV Unplugged doesn’t attract the same attention as many of their fellow grunge icons: Scott Weiland’s vocal performances over the duration of the set are razor sharp, and the genius of Dean DeLeo’s guitar playing is put front and centre in an acoustic context. Make sure to pay attention to how tight the band sound throughout ‘Plush’, and seeing Scott Weiland hit the long notes on ‘Creep’ while effortlessly chilling in a rocking chair makes for one hell of a sight.

9. Alicia Keys

Regarded as one of the finest Unplugged sets to air after the series’ glory days Alicia Keys brought her Brooklyn crowd to church with her soulful appearance on the program in 2005 and affirmed herself as a once-in-a-generation talent. Backed by an ensemble of backing vocalists, brass and string players, Keys’ renditions of ‘Unbreakable’ and ‘If I Ain’t Got You’ both snagged Grammy nominations the following year, while a duet of the Rolling Stones’ classic ‘Wild Horses’ with Maroon 5 frontman Adam Levine also proved to be an unlikely highlight from the set.

8. Jimmy Page & Robert Plant 

On what was only their second reunion since the dissolution of Led Zeppelin in 1980, Jimmy Page and Robert Plat took to MTV to remind the world just why they were considered as one of rock’s all time greatest acts. Despite neglecting to invite John Paul Jones – a woeful oversight by all accounts – the iconic duo turned in a performance for the ages with their stripped-back versions of some of the band’s most beloved tracks, with the pair’s performances of ‘The Rain Song’ and ‘The Battle Of Evermore’ ranking up there with some of the best from the band’s glory days.

7. Neil Young

Neil Young is no stranger to an unplugged setting: many of the Canadian rocker’s finest ever moments came from him pouring his soul out with acoustic in hand, and on paper, you’d think an MTV Unplugged session would’ve been a walk in the park for him. In reality, Young’s Unplugged set was an absolute disaster, with the singer randomly walking out of his performance mid-set and refusing to allow the producers to air the show. Somehow, MTV managed to secure Young for another crack at the show two months later, and the results were nothing short of sensational, even sneaking a performance of the previously unreleased deep cut ‘Stringman’ to go down as an all-time fan favourite.

6. Lauryn Hill 

Potentially the most controversial MTV Unplugged session of all time, Lauryn Hill’s appearance on the program proved to be immensely polarising upon release in 2002, with the neo-soul star eschewing her popular hip-hop roots in favour of a sound that drew upon hushed acoustic and spoken word interludes. Despite garnering mixed reviews and flopping commercially at the time, Hill’s Unplugged performance is now considered as one of the boldest career moves of the modern era, with artists such as Solange, Sam Smith and Adele citing the raw and introspective performances as major influences upon their own works.

5. Jay-Z

Released mere months after his 2001 triumph The Blueprint, Jay-Z’s appearance on MTV Unplugged turned out to be one of the most pleasantly surprising acoustic sets in the show’s history, with the Brooklyn MC teaming up with The Roots to serve as his backing band for the entirety of the show. Backed by the breakneck pulse of Questlove’s drumming and accompanied onstage by Mary J. Blige and Pharrell, Hova brought an energy to the MTV Studios that few had ever witnessed before, with versions of ‘Can’t Knock The Hustle’ and ‘Girls Girls Girls’ portraying the legendary rapper at his creative peak.

4. Eric Clapton

There was an era in the ‘90s – and even beyond – where Eric Clapton’s MTV Unplugged performance was near inescapable: in 1993, the record won six Grammy Awards, and to this day, it’s the biggest selling live album of all time. Performing a setlist dotted with solo singles, blues standards and even deep cuts dating back to his days in Cream, Clapton’s low-key acoustic reinterpretation of his back catalogue thrust him back into the mainstream, with standouts like his swaggering rendition of ‘Layla’ and the emotional gut-punch of ‘Tears In Heaven’ – a harrowing track about the tragic passing of his four year old son – still being mainstays on rock radio to this day. 

3. Alice In Chains

Despite receiving mixed reviews upon airing in 1996, Alice In Chains’ appearance on MTV Unplugged has subsequently gone down as one of the series’ most riveting episodes yet. The band, who hadn’t played a show in over two years due to frontman Layne Staley’s crippling addiction to heroin, managed to pull off the impossible and deliver a performance packed with gut-wrenching emotional weight, with their renditions of ‘Rooster’ and ‘Down In A Hole’ being considered as some of the most haunting to ever air on the program.

2. Pearl Jam 

Fondly remembered by survivors of the grunge era as one of the most flawless acoustic sets of the era, Pearl Jam’s appearance on MTV Unplugged in 1992 proved to be a massive moment for the emerging band, who were still riding hot on the tails of their titanium debut Ten. While the band have since expressed their regret at not making their all-too-short set more of a special occasion, Vedder’s vocal performances on ‘Black’ and ‘Jeremy’ rank among some of the best in his career, and the band’s cover of Neil Young’s ‘Rockin’ In The Free World’ is simply untouchable.

1. MTV Unplugged Nirvana 

You’d be hard-pressed to not immediately think of Kurt Cobain donning a green cardigan when the phrase MTV Unplugged is uttered: after Nirvana’s legendary appearance on the show, the two parties have essentially become synonymous with the grunge era. Despite the band’s apprehension at the prospect of playing an acoustic show – and the TV station’s dismay when they opted for a set primarily comprised of deep cuts and covers – Nirvana’s appearance on MTV Unplugged was a resounding triumph, with Cobain spilling his soul out on tracks like ‘Where Did You Sleep Last Night?’ and ‘The Man Who Sold The World’ in a manner few listeners had ever heard him do so before – and sadly, ever would again. 

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Gear Rundown: Blood Incantation

With influences like Death, Morbid Angel and Gorguts, Blood Incantation blend prog and classic death metal, all through the lens of their view on aliens, planetary and human evolution and the universe around us. Their music is abhorrently technical, making most guitarists want to quit their instrument on the spot, without being entirely listenable and not inaccessible or un-enjoyable.

There’s a fine line between profoundly technical music, be it jazz, classical or metal as an example, that musicians can teeter on music being so technical that there’s no pulse, rhythm or groove, and writing impressively technical music that can still be bopped along and danced to.

Read all the latest features, columns and more here.

Blood Incantation take the latter route, combining grooves, speed and melodic solos with some very simple equipment, usually letting their playing and instrument prowess provide the dynamic and shifting sounds that effects are usually used for. Because of this, guitarist’s Paul Riedl and Morris Kolontyrsky are pretty demanding and exacting of their instruments, while bassist Jeff Barrett has his own unique take on metal bass playing.

BC Rich Ironbird

Riedl and Kolontyrsky both sport BC Rich guitars primarily, usually of the Ironbird variety. The Ironbird is one of the more angular designs available from the company, famously used by artists like Erik Rutan (Hate Eternal, Cannibal Corpse) and Spencer Hazard (Full of Hell). BC Rich produce extremely versatiles guitars, their list of artists ranging from Slash to—sorry metal elitists—Phoebe Bridgers.

The versatility of their guitars are what speaks to Blood Incantation, their Ironbird’s featuring two humbuckers and Kahler tremolos. Most recently, Blood Incantation’s guitarists are playing BC Rich Legacy series Ironbirds (all black, ebony fretboards, a single DiMarzio Super Distortion and single volume control) and aftermarket Kahler 2300 Pro tremolo systems.

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BC Rich Mockingbird fretless

While Blood Incantation’s music moves beyond metal, particularly with the release of 2022’s album Timeform Zero, there’s not much else besides death metal you can expect from a band sporting solely BC Rich stringed-instruments.

Blood Incantation’s bass player, Jeff Barrett, uses a fretless BC Rich Mockingbird. The Mockingbird is a more rounded body shape, combining a slightly offset body with rounded horns. The fretless addition, or maybe more so subtraction, give Barret’s bass tone a uniquely slippery, progressive sound. Paul Riedl and Morris Kolontyrsky’s guitars roll like a steam engine, while the bass tone supporting them shifts in and out of pitch, offering movement and vibrato to the arrangement for an ethereal feel.

Kahler tremolos

Kahler are a lesser known tremolo company, though their innovation and design elevates them beyond a lot of the competition. The standard Kahler tremolo includes a locking mechanism, whereas other trems like Floyd Rose need additional accessories to be locked.

Kahler feature more practical solutions to adjusting things like intonation, string radius and string width, entirely more customizable than competitors, but with the same, stable, fine-tuning tech. Blood Incantation employ Kahler specifically (sometimes as aftermarket additions), because of their ingenuity and reliability, even when wailing and dive-bombing like Blood Incantation do.

Peavey 6505

The Peavey 6505 was a revised take on the 5150 after Eddie Van Halen took the 5150 name elsewhere when splitting from Peavey. According to Peavey they’re the same design and components, albeit production being moved to China.

5150s and 6505s are used extensively in metal, the tight bottom end being a great match for down-tuned music, or even just riffing on the bottom string.

Blood Incantation Synths

In early 2022, Blood Incantation released their new album Timeform Zero in full. Fan opinions were split, there were no amps, no vocals per se and no drums, only a single acoustic guitar remained from Blood Incantation’s standard lineup of instruments.

The album’s eventual release  was met with mixed results as well, some fans loving the deviation to build on the Blood Incantation zeitgeist, while others wanted more straight-down the road metal. The album is made up of two compositions and split into eight movements, begging with “Io” and moving onto “Ea”.

Sequential Circuits Six-Trak

“Io” begins with a rumble, a profoundly bass heavy synth sound, that slowly modulates about a minute in, and begins to filter and warm up. This sound is provided by a Sequential Circuits Six-Trak, played by Blood Incantation’s drummer Isaac Faulk.

The Six-Trak was designed as Sequential Circuits’ beginner synth. It’s simply laid out, with a few octaves of keys and is an analog six oscillator, six voice synth. The Six-Trak features MIDI for external control, as well as a large panel above the keys that displays assignment settings.

Roland JP-8000

Guitarist Morris Kolontyrsky plays a Roland JP-8000, a more modern Roland synth that aimed to incorporate the massive, 80s saw wave synth sounds which modern technology and connectivity.

The Roland JP-8000 is a powerhouse for real-time adjustment and modulation via knobs and sliders. It has “analog” synth functions despite being a digital synth, making the JP-8000 a great option for players moving from more classic synths, accustomed to that sound and function.

Korg Minilogue

Kolontyrsky also plays a Korg Minilogue, an analog synth at a really accessible price, still being in production today. The Minilogue is a polyphonic analog synthesizer, meaning that it has multiple voices that can be used simultaneously. It has on board effects like delay and reverb, as well as controls to toggle, switch and adjust your tones on the fly.

Keep up with Blood Incantation here.

Serato announce the powerful all-in-one multi-fx plugin: Hex FX

Today, iconic audio software company Serato announced the release of Hex FX, a revolutionary all-in-one multi-FX plugin that magically bends, morphs and hexes any sound with a full suite of chainable FX.

“I love the sounds within Hex FX, especially the pitch reverb, saturators, and slap-back tape delays—really inventive,” said Guy Lawrence of Disclosure. “It’s very me. It’s staying in my DAW.”

Read all the latest product & music industry news here.

Explore the features of Hex FX:

• Fully Customisable FX Chains: Create the perfect FX preset and get the sound no one else has. Chain and rearrange up to six FX slots that draw from over 45 unique effects – including bit crushers, brakers, compressors, delays, distortion, reverbs, modulation, time stretching and much more – all with fully customisable FX parameters.

• The Best Sound, Period: Serato is bringing the next evolution of audio effects for music producers. Inspired by cult classics like the SP404, Commodore Amiga, and vintage reel-to-reel, Hex FX expands these legends, giving producers an even broader sonic arsenal. Combined with never-before-heard Serato effects, producers can create limitless combinations that keep tracks fresh.

• The Power of the Dial: More than just a wet/dry mix, the Hex Dial warps each effect parameter with a single control. Every adjustment — big or small — instantly transforms sound, shaping effects independently to create intricate, ever-evolving layers.

• Make Your Beats Move: Turn up the energy with Serato’s unique Performance FX, including pitch braker, pitch looper, rollout, half time, backspin, and DJ transform. Jam live, tweak effects in real-time, and give your sounds that dynamic, live-show movement.

Created by Serato Audio Research Lab with over 45 unique effects and more than 100 presets, Hex FX provides producers with every effect they could need in one place. Hex FX also features exclusive, signature presets from industry icons like Guy Lawrence from the Grammy-nominated electronic music duo Disclosure, legendary Hip-Hop producer and member of D.I.T.C. Lord Finesse, Grammy-nominated Hip-Hop producer Jake One, Amber Navran of the renowned Neo-Soul trio Moonchild, and Multi-Platinum music producer DECAP. Whether working with drums, vocals, instruments, samples or a master channel, producers can access new textures and further fuel their creativity with effortless control.

Hex FX is available at serato.com/hex-fx for an introductory cost of $99 or through a subscription to the Serato Producer Suite.

The new Keeley Rotary!

Rotary speaker cabinets impart a one-of-a-kind type of chorus effect. The new Keeley pedal faithfully recreates the swirling textures and vintage warmth of those rotary cabinets. Tucked inside Keeley’s laser cut aluminium case is a brand new set of circuit boards delivering the finest tone we’ve ever achieved. The quality is so impressive that it’s knocking industry titans off pedal boards.

Read all the latest product & music industry news here.

Syrupy Swirl & Tube Breakup: Achieve that classic rotary sound with a rich, “chorus-y” effect and a tube-like overdrive, reminiscent of those era-defining guitar tones!

Sculpt Your Sound:

• Blend: Find the perfect mix between dry and wet signals for a subtle warble or a full-on sonic whirlpool.
• Drive: Dial in tube-like harmonic saturation that adds depth and character to your tone!
• Mid Boost: Three different EQ curves to fatten up the stereo chorus effect.

Rotary in Motion:

• Dual Speed: Choose between two distinct rotation speeds for classic slow warble or a more dramatic, fast chorus effect.
• Brake: Instantly slow down the rotation for a cool “stopping” effect, adding a dynamic touch to your playing.
• Adjustable Ramp: Control the speed transition between slow and fast for smooth or dramatic soundscapes.
• Large Speed Knob: Easily control the rotation speed for intuitive adjustments on the fly!

Stunning Design for Effortless Use

The Rotary is built with artfully designed circuitry and housed in a proprietary angled aluminum enclosure, ensuring both simplicity and durability. Like all Keeley pedals, it’s proudly designed and manufactured in the USA.

For more info, keep reading at Keeley here.

Six bass guitar players you don’t know, but might actually know

Bass guitar can be a criminally overlooked element of an arrangement, so we thought it prudent to have a look at some bass guitar players whose name you may not know, but credits you certainly will.

The abilities of these players to turn it on when recording shouldn’t be overlooked. Feel, tone, poise, intonation and excitement are just some of the traits bundled into those precise moments to create a sound and feeling that works for the song. These skills, plus a verified track record, make them in-demand musicians.

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

Tim Lefebvre

A serious musical chameleon, Lefebvre has played with a wide range of artists from almost every genre imaginable – David Bowie, Wayne Krantz, Tedeschi Trucks, Empire of The Sun, and the list goes on. Chops and ideas for days combined with a deep pocket and a palate of great tones he can fit into almost any musical situation. 

Mike Elizondo

Establishing himself in the contemporary space initially with Dr Dre, 50 Cent, and Eminem, Elizondo comes from a musical family and has a background of serious musical study and performance. Playing electric and double bass along with a host of other instruments, Elizondo is also a Grammy award-winning producer. Credits (studio and live) include Twenty One Pilots, Fiona Apple, Maroon 5, Keith Urban, Avenged Sevenfold, and many more. 

Jimmie Lee Sloas

Typically working in the country/pop/rock world, Jimmie Lee Sloas can be heard on countless recordings from artists such as Carrie Underwood, Keith Urban, Megadeth, Jessica Simpson, and Garth Brooks. Nashville is home to many amazing players and Sloas is one of the most in demand bass players on the scene. 

Michael Rhodes

A session and touring player of the highest order, Rhodes literally has hundreds of credits to his name (JJ Cale, Randy Travis, Kenny Rogers, Etta James, Bob Seger, Vince Gill, Peter Cetera, Larry Carlton, LeAnn Rimes, Mark Knopfler, Richard Marx, Dixie Chicks, Stevie Nicks, Willie Nelson, Joss Stone, Lionel Richie, Buddy Guy, Brian Wilson etc). With country, rock, pop, jazz, and blues his main settings, he is highly sought after for his solid groove and feel. Currently touring with blues guitarist Joe Bonamassa, Rhodes really is a prolific force in the bass guitar world. 

Guy Pratt

Pink Floyd, Robert Palmer, Madonna, Tears for Fears, Gary Moore, Ronan Keating, David Gilmour, Julian Lennon, Peter Cetera – Pratt has played with (and continues to play with) serious A-level artists. A producer, composer and touring/session muso, he has played on some iconic recordings including Madonna’s ‘Like A Prayer’ (check out the bass line if you’re not familiar with it!). Fun fact – one of Pratt’s first big touring gigs was with Australian favourites Icehouse (at the age of 19!).  

Neil Stubenhaus

Graduating from Berklee College of Music (where he studied alongside the likes of Vinnie Colaiuta and John JR Robinson) Stubenhaus joined Blood, Sweat & Tears in his formative years forging a huge list of credits both live and in the studio. Barbara Streisand, Quincy Jones, Elton John, Rod Stewart, Michael Bolton, Glenn Frey, Natalie Cole, George Benson, Joe Cocker, Julio Iglesias, Cher, BB King, Ricky Martin, Barry Manilow, and many more.

Highlighting his mix of chops and ability to lay it down, you can also hear Stubenhaus on many recordings from the band Karizma featuring other session greats Mike Landau, David Garfield, and the aforementioned Vinnie Colaiuta. 

Check out some tips on getting into session playing.

Happy accidents in the recording studio created 15 memorable hits

Accidents in the recording studio can either be an unintended mistake or a result of experimenting with sounds and instruments. Often they produce the sound on the record that makes them embraced by the public.

To quote David Bowie: “A mistake is a mistake, even if you repeat it. But when you make it a third time, that’s style.”

Fred Again… : “Jungle”

The distorted bass made “Jungle” as compelling as its heavy sampling of Elley Duhé’s “Immortal” and Daft Punk’s “Revolution 909″.

But Freddie explains that the bass effect came from a dodgy one-quarter inch cable plugged in via a voice memos app on his iPhone.

He demonstrated it after revealing the effect on TikTok. DJ Sistek gasped, “Omg that’s genius!”

Metallica: “Master of Puppets”

The final guitar solo on the 1986 track sends Metallica tribute bands crazy!

On it, Kirk Hammett’s finger slipped off the neck, pulling the top string off with it, resulting in a high-pitched squeal. 

It was a great moment, loved by fans and the band alike.

The Rolling Stones: “19th Nervous Breakdown”

The global success of “(I Can’t Get No) Satisfaction” in 1965 led The Stones on a relentless round of touring the world, including two American tours in six months.

As the band wound up in Los Angeles on December 5, an exhausted Mick Jagger told the band, “Dunno about you blokes, but I feel about ready for my 19th nervous breakdown.”

While in Los Angeles, Jagger and Keith Richards wrote the song, to be about a spoiled socialite with distant parents (“Your mother who neglected you owes a million dollars tax/ and your father’s still perfecting ways of making sealing wax”) and showered her with toys.

Bass Bomb

During the recording, at RCA Recording Studio on Sunset Boulevard, when it came to the outro, producer Andrew Loog Oldham suggested to bassist Bill Wyman, ‘Why don’t you do something at the end there, some kind of a lick that will fill up the space between the vocals and the band,’” 

Wyman remembered. “I just bounced the string with the top of my finger on the pickup, and ran my finger down the string. That is what created that so-called ‘dive-bombing’ sound.”

It was a perfect sonic painting of someone’s mental energy collapsing while in the recording studio.

Pearl Jam: “Rear View Mirror”

Pearl Jam’s early days were marked with drummers arriving and leaving in a revolving door within a year.

Things got tense during the making of the Vs. album with Dave Abbruzzese arousing the ire of singer Eddie Vedder because of his penchant for collecting guns.

According to the book Five Against One, Abbruzzese had problems laying down the tracks, which irritated producer Brendan O’Brien, and put the pressure on him.

Against The Wall

Things came to a head during the recording of “Rearviewmirror” where you can hear the drummer throw his stick against the wall.

Later he punched a hole through the snare drum and threw it off the side of a cliff.

Russel Morris: “The Real Thing”

Russell Morris’ epic debut single “The Real Thing”, was never to run 6 minutes  20 seconds.

When sessions began at 7pm in the summer of 1968/9 at Armstrong Studios in Melbourne, it was to be a conventional three minute track.

But as backing band The Groop banged away, producer Ian “Molly” Meldrum realised that something special was happening and signalled at them from the control room to keep going.

Ten Minutes

The tape broke after 10 minutes. After that, Meldrum went into the effects room of the recording studio and went on to add to the craziness including a Hitler speech and an atomic bomb.

Up in EMI Records’ headquarters Sydney, panic set in when the budget spectacularly blew out from the $300 budget to $10,000  — twice what a full album cost in those days!

An exec was despatched to hightail it to Melbourne, seize the tapes and sack Meldrum.

Brooding

Morris told Mixdown that before he was booted out, a brooding Meldrum dosed himself with brandy, kidnapped the tape and escaped to the park opposite, crashing on the fence on the way.

They went looking for him with torches as night fell, and found him hiding under a bush.

The ‘”Oo mama-mow-mow, oo mama-mow-mow” bit which launched a thousand sing-alongs wasn’t to be on the final product.

Substitute

When songwriter Johnny Young played the song to Meldrum and Morris, he hadn’t finished it, and substituted the oo mama-mow until he came up with the right lyric.

For Mixdown’s full report on the session, keep reading here.

Kanye West: “Runaway”

The irresistible piano riff that made “Runaway” a live highlight, and the second single off the My Beautiful Dark Twisted Fantasy album (2010) was an accident, co-producer Jeff Bhasker revealed in a YouTube interview.

During recording, West wanted a “ping” bell sound on beats two and four on the snare drum.

As Bhasker searched for the correct note on his MIDI keyboard, he experimented with different octaves. That created the riff.

So On Fire

“Kanye picked up on that, he said ‘That is so on fire’,” and I said ‘You should use that because it will bring a stadium to its feet!’”

It fitted the personal nature of the song, with Ye lamented about broken relationships and his confrontation with Taylor Swift at an awards night.

Bill Withers: “Ain’t No Sunshine”

Bill Withers was a 31-year old factory worker making toilets for 747 airplanes when he wrote “Ain’t No Sunshine” in 1971.

He was inspired by the alcoholic characters in the 1962 movie Days Of Wine And Roses played by Lee Remick and Jack Lemmon.

Forgot

As the tape rolled, Withers forgot some lines. The recording studio budget was tight, so he repeated the words “I know” 26 times to get over the gaff.

Everyone in the recording studio (including Booker T & The MGs and Stephen Stills) told him to keep it, as it suggested the song’s narrator was kicking himself for the relationship collapsing.

The Beatles: “I Feel Fine”

In 1964, The Who and The Kinks were liberally using feedback onstage but John Lennon was adamant that their “I Feel Fine”, released that year, was the first time it was used on record.

It was caused by Paul McCartney plucking the A string on his bass, and Lennon’s guitar, which was leaning against McCartney’s bass amp, picking up feedback.

Pickup

McCartney recalled: “John had a semi-acoustic Gibson guitar. It had a pickup on it so it could be amplified … 

“We were just about to walk away to listen to a take when John leaned his guitar against the amp. 

Voodoo

“It went, ‘Nnnnnnwahhhhh!’ And we went, ‘What’s that? Voodoo!’ ‘No, it’s feedback.’ ‘Wow, it’s a great sound!’”

They asked producer George Martin, who agreed, “Well, I suppose we could, we could edit it on the front.”

Ike Turner & Jackie Brenston: “Rocket 88”

It was right that the first real rock and roll record, Ike Turner & Jackie Brenston’s “Rocket 88” (released in 1951 as Jackie Brenston & His Delta Cats) featured the first known distortion.

This was achieved by stuffing newspaper into a speaker which had fallen out onto Highway 61 (or left out in the rain) played by Willie Kizart.

Marty Robbins: “Don’t Worry”

The first record to feature the fuzz sound was by an American country singer in early 1961 – and due to bad technology.

A recording studio console equipped with Langevin 116 tubes sent from a New York factory to Quonset Hut recording studio in Nashville had no less than 35 improperly calibrated output transformers.

Misjudged

The studio’s engineer Glenn Snoddy later told NAMM’s Oral History program, “Prior to making the transformers, they misjudged the windings somehow or other, and there were 250 volts going through the winding instead of the transformers.

“One malfunctioned at the exact time that Grady [Martin] was playing his guitar solo through it.”

Six String

Martin was playing his Danelectro six-string baritone electric, model UB2, on country superstar Marty Robbins’ “Don’t Worry”, when the transformer on his bass channel broke and gave the fuzz sound for 20 seconds at the 1:20- mark and towards the end of the song.

There was a debate in the studio as to whether to recut it “properly” but Snoddy was so excited by the sound that he insisted it should stay.

“Don’t Worry” entered the US Top 40 in February 1961 and stayed in there for 12 weeks.

Within a few years it was the sound that every guitarist around the world would ape.

Led Zeppelin: “Rock and Roll”

“Rock And Roll”, a standout on Led Zeppelin IV and among the most hard hitting of the Zep catalogue, was never supposed to happen.

They were in the Headley Grange mansion working on “Four Sticks”, and getting nowhere with it because of its complex percussion.

Drum Intro

Frustrated John Bonham impulsively broke into the raucous drum intro to Little Richard’s 1957 belter “Keep A-Knockin'” (trivia: 170 bpm), to which a smiling Page joined him on a riff borrowed from Chuck Berry.

It was just supposed to relieve tension. But someone pressed play in the control room. 

A Long Time

When the Zeps played it back, they realised they had something there. Robert Plant wrote the lyrics to it, the line “It’s been a long time since the book of love” a reference to The Monotones’ 1958 hit “Book Of Love”.

It was originally called “Been A Long Time” but Plant changed it to stick it up those who’d sneered that Zeps had lost their toughness on all the soft songs on Led Zeppelin III.

The Beatles: “Hey Jude”

At around the 2:58 mark in “Hey Jude”, Paul McCartney hits a bum note on the piano, and either he or John Lennon mutter “Fucking hell!”

Pink Floyd: “Wish You Were Here”

On the 44 second mark of Pink Floyd’s “Wish You Were Here” (1975), you hear singer and guitarist Dave Gilmour cough and sniffle.

The cough was so raspy he gave up smoking the next day.

Clarified

Gilmour has clarified he never smoked cigarettes. When he was 14, his father promised him if he didn’t smoke until the age of 17, he’d teach him to drive.

Gilmour told Tonight Show host Jimmy Fallon he didn’t smoke at 17 but his father forgot the deal and he never got his driving lessons.

Pack Of Cigs

“You might think that would send me immediately off to buy a pack [of cigarettes],” Gilmour said. “But it didn’t. I never smoked.”

He meant he never smoked tobacco…

Hozier: “Too Sweet”

The accident wasn’t made when the Irish superstar cut the track, but rather afterwards.

In March 2024 when his Unheard EP came out with four songs that hadn’t made his Unreal Unearth album, there were no plans for “Too Sweet” to be a single.

But when Hozier was being interviewed on the How Long Gone podcast, the EP was played to the podcast crew.

Snippet

A snippet of “Too Sweet” accidentally went out on the podcast.

Hozier’s management pulled it down, but it was too late. Fans had heard it, and made it a TikTok smash.

“Too Sweet” went on to become #1 in seven countries, including Australia, the US, the UK and New Zealand.

The Police: “Roxanne”

One of the most infectious laughs on a rock record was at the beginning of The Police’s “Roxanne”, right after the piano intro.

Sting had accidentally sat on the piano when it hit a chord, and he is listed on the credits of the Outlandos d’Amour album with “butt piano”.

The Yardbirds: “Heart Full of Soul”

In 1965, Jeff Beck joined The Yardbirds, replacing Eric Clapton who’d got into a huff when they recorded the poppy “For Your Love” with a harpsichord.

With “Heart Full of Sound”, the riff immediately suggested an Eastern or Indian sound.

Sitar

A sitar player and tabla player were brought in. Alas, the sitar player couldn’t cut it so Beck got the while-my-sitar-gently-weeps sound by bending the higher notes on his guitar using his own Sola Sound Tone Bender.

He helped popularised the genre called “raga rock”.

Beck explained: “The sitar player couldn’t get the 4/4 time signature right; it was a hopeless waste of time. 

Fuzz Machine

“So I said, ‘Look, is this the figure?’ I had the fuzz machine, a Toneblender [sic], going. 

“We did one take, it sounded outrageous. So they kept the tabla player, who could just about make it work. 

“They rushed that out, and the rest was a rollercoaster ride.”

Keep reading about the Tone Bender here.

Gear Icons: Allen & Heath

Allen & Heath are one of those companies, the select few, that you’ll see in just about every musical environment no matter where you are. Be it a dive bar in Melbourne, Australia, or a performance at China’s Pingtan International Performing Arts Center, you’re hearing Allen & Heath.

Their range of practical interfaces in the ZEDi range, like the AH ZEDi-8, serve as a wildly versatile audio interface, converter and mixer, all with EQ and routing options available for however you want to use it. This hybrid workflow is a long way from Allen & Heath’s humble beginnings: the quadraphonic mixers of the 70s for the likes of The Who and Pink Floyd. Allen & Heath’s MOD1 console can be seen in Pink Floyd’s Live At Pompeii performance. The Who and Pink Floyd were the stars of their day, and today is no different; Allen & Heath consoles are trusted to mix live performances by Lewis Capaldi, Bring Me the Horizon and Billie Eilish, with droves of Allen & Heath products being used to produced, mix and amplify the stars of tomorrow.

Read up on all the latest interviews here.

Returning to the ZEDi-8 though, we have an unbelievably functional mixer and interface. In Allen & Heath’s own words, the ZED series as a whole is ”for the makers”. At its core, the ZEDi-8 is a two-in, two-out audio interface.

ZEDi-8

It has two XLR inputs, with global phantom power, switchable to line/instrument inputs to connect your keys, synth, guitar or bass directly without the need to mic it up. From here there’s high and low EQ for a little treatment, also featuring a low-cut switch and finally a Mix send to balance your channels of audio for live performance or recording; a function that elevates the ZEDi-8 above most others in the competition.

An example of this in use would be a guitar and mic plugged into an Inst and Mic input each, with a sampler or drum machine into one of the stereo channels, allowing you to demo and write, all the while recording your ideas as they come to you.

Having a mixer for yourself for live performances is endlessly helpful, and a great investment. For writing and producing, it’s helpful to record your ideas to review later, and the ZEDi-8 combines these. You can switch between the USB interface portion of the unit receiving its signal from either the M1 & M2 (Mono 1 & 2) inputs, like a traditional interface, or balance four channels together and record the Master output via USB.

Beyond the first two mono channels, there’s two stereo channels, again for keys or synths or even stereo guitar effects (get creative!) These can also be balanced and sent to the master output, to record to your interface or amplify for live performance – or both!

Back to our example though, for a moment, you could record a basic guitar and vocal track through mono channels, isolating the tracks together into your DAW for more control. Then, you could improvise a guitar solo over a section by playing the guitar and vocal through one of the stereo inputs, and recording only the guitar solo via one of the mono inputs. All of a sudden you’re building a song! The functionality allows you to derive great sound from your ideas very easily, with multiple workflows available depending on the level of control you’d like from the end product.

And all of this is just the music functionality! For podcasts and streamers, the ZEDi-8 allows for two mics, multiple line connections, headphones and USB recording and connection.

Decades of experience producing products for both the studio and live have culminated in the ZEDi series as a whole, the ZEDi-8 specifically being a uniquely portable though functional solution: you get a whole lot in a tidy package.

Larger solutions include the ZEDi-10FX that has more channels and onboard effects, and even looking beyond the ZEDi series, there’s solutions to whatever your needs may be. Allen & Heath’s history as a live sound heavyweight has led them to their dLive consoles that can offer up to 128 channels into 64 buses, while the hugely popular Avantis series offer 64 channels and 42 configurable buses for incredible function and customizability. A true gear icon, Allen & Heath ensure every product has the functionality needed to solve problems and ultimately provide great sounding audio to the end user, whoever that may be!

Their humble beginnings as a company producing hand-built mixing consoles have led them through a lifetime of problem solving, a company constantly pushing the envelope and packing as much as they can into every product they can. The name of the game is flexibility, and Allen & Heath have it in droves, these solutions leading to flagship products like the dLive console or the ZEDi series of interfaces and mixers.

The ZEDi series, Allen & Heath’s range of ‘mini mixers’ offer function in droves, both providing a great option for mixing a live performance and a great sounding audio interface. What’s more, it’s also a great long term investment to be used as a personal mixer in the future! One of those products you’ll find a use for no matter what your needs are.

Allen & Heath are focused on the sound, and offer a huge array of ways to achieve it, no matter whether you’re wrangling your first demos into shape or riding faders in front of 10,000 people. 

For local enquiries, visit Technical Audio Group (TAG).

PreSonus set up a studio for Chad Smith!

Watch the PreSonus crew set up Chad’s new home studio, and follow along after the jump for a complete rundown of his PreSonus gear. Over the last 35 years, Smith’s energetic, funky, and hard-hitting technique has helped shape the band’s signature sound – his drumming a driving force on hits like “Give It Away,” “Under the Bridge,” and “Californication” earning The Red Hot Chili Peppers three GRAMMY awards, a Rock and Roll Hall of Fame induction, and their own star on the Hollywood Walk of Fame.

Read all the latest product & music industry news here.

Chad Smith

Beyond his iconic role in RHCP, Smith is also known for his hard rock supergroup, Chickenfoot, collaborations with artists like Johnny Cash, Charli XCX, Iggy Pop, and Post Malone, and his playful, larger-than-life personality. His unique blend of technical skill and raw energy has made him a standout figure in the world of rock drumming.

 

Always up for a challenge, our PreSonus team traveled to a secret location and spent two days building out a new home studio for the legendary drummer. At the heart of his build are two Quantum HD8 Audio Interfaces with auto gain to instantly capture Chad’s levels and ensure a clear mix with maximum punch, plus 16 mic inputs to cover other musicians during live jams.

For mixing, we paired a set of powerful Eris Pro 8 Studio Monitors with an Eris Pro Sub 10 and tuned them to his room, delivering a wide sweet spot and precise stereo imaging with punchy low end and tight, clear bass. A FaderPort 16 is right within reach, and its automated faders allow Chad to dial in the exact mix he wants to hear through his HP60 Headphone Amplifier and HD9 Headphones.

Keep reading about the project here. For local PreSonus enquiries, visit Link Audio.

Fender launch new Bassman pedals for low end power

Inspired by one of Fender and their most famous sounds, the new range of Bassman pedals are built for bass-centric tonal expansion.

Bassman Driver: Conjure varying shades of gain, from light tube-like breakup to hi-gain chunk, while keeping your low end intact. Utilising a complement of JFET circuitry and dynamic clipping stages, the Bassman Driver emulates the behaviour of a bass tube amp driven to breakup. Flick the voice switch into the up position to kick in an additional layer of clipping for a heavy modern distortion voicing. Sculpt your tone further using the mids switch, offering two dialled-in levels of growl, and an internal tone control to set the high frequency content to your liking. The blend control keeps your low end solid by blending body and dynamics from your clean tone back into the mix.

Read all the latest product & music industry news here.

Bassman Fuzz: Thick and wooly bass fuzz for the ages: cramming decades of bass fuzz tones into a small footprint, this pedal offers two voices of speaker-pumping grit and all the right controls to keep your low end solid.

Bassman Delay: Enter the world of subsonic soundscapes with delay engineered for bass. The Bassman Delay brings delay to the low end wielding two professional DSP algorithms designed specifically to repeat bass signal. Select between smooth analog repeats or crisp digital delay tones with a flick of the type switch, while the time and feedback controls determine the delay time and number of repeats. Shape the low frequency presence in your delay repeats using the low switch, letting you decide if your delays fade out lightly on top of your signal, keeping the low end clear, or duplicate the full signal for beat- repeat like waves of bass. Delve into the depths of ambience and find exciting new percussive grooves with the Bassman Delay.

Bassman Reverb: This pedal specialises in delivering ambience while keeping low-end transients clear, thanks to the low cut control which removes low frequencies from the reverb trails to prevent muddiness.

Bassman Compressor: A no fuss professional compressor tailored specifically for bass instruments, the Bassman Compressor focuses on ease-of-use and great tone.

For local Fender enquiries, keep reading at Fender Music Australia.

Mix like an audio pro: Mix bus processing

While it’s generally not advisable for the processing on a mix bus to be the make or break for the mix of an audio pro (some mastering engineers requesting a mix with a clean mix bus!), it’s not uncommon for an audio pro mixer’s mix bus processing to play a huge role in their sound.

Before diving into some common mix bus techniques like EQ, compression and saturation, let’s answer a question: What is mix bus processing? At a basic level, mix bus processing is processing that is applied often to an entire mix, or an entire group of instruments, i.e. all your guitar tracks, or all your drum tracks etc. It’s also not uncommon to process all of your rhythm instruments together, i.e. bass and drums, and all of your lead instruments together, i.e. guitar solos and vocals. Gottit? Let’s dive in.

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

In the modern world of digital audio, it’s not uncommon for us to have multiple mics on a source, all summed together within our DAW before they’re sent to our final mix. For example, you might have 12 mics on a drum kit, each with their own EQ, compression and effects, and it can be good to process all of these together as well to keep the kit sounding cohesive.

Digital audio can be unnaturally clean and clear, so saturation can be a great way to bring back some ‘analogue’ vibe and mojo, as well as helping things settle back into a mix. Saturation is a great way to do this as it both bolsters and refines sound, as well as the character or saturation and overdrive serving to attenuate and shape sounds much like a compressor or limiter would. This saturation is what makes recording and mixing to tape sound the way it does, squeezing sounds together and sticking them together like glue. These sounds are heard across the mixes of a whole range of audio pro mixers worldwide. Saturation affects different harmonics of a sound in a unique way, so the sound isn’t always overtly distorted, but instead is just bigger, more present and forward sounding without audible distortion; unless you want it!

Want to get mixing like an audio pro? You can get shop, browse and buy plugins from Plugin Alliance here.

Saturation is the origin of all the audio buzzwords we’re so accustomed to: warm, vintage, fat, smooth, glassy, crisp and more. Saturation is a great way to either process an entire group of instruments or your entire mix (little cheat code for you readers: “both” is the correct answer when dealing with saturation).

Black Box Analog Design HG-2

You might very well have seen the Black Box Analog Design HG-2 in the racks of studio rundown videos, and thankfully the Plugin Alliance plugin does a very good job of replicating the hardware, without the eye-watering price tag. The HG-2 is a Harmonic Generator, refining and shaping the harmonics of the sounds run through it. The Plugin Alliance HG-2 is a great solution for saturation in a mix because of a few key elements: it’s modelled on the tube hardware, as well as being able to dial in ‘Air’. While there’s a slew of features available for different sounds, these two options make it a great solution for mix bus processing.

The tube modelled sound is available by blending in either pentode or triode-style tube sounds, in series, allowing you to push harder into the triode tubes if you wish, all of this circuitry also being between the virtual transformers of the input and output stages, just like the hardware. What elevates the plugin version though, is the ‘Air’ control. The hardware has a button for ‘Air’, but the plugin adds an ‘Air Amount’ control, allowing you to add high frequency harmonic information and blend it to taste. High end can help bring elements back and forward in a mix, making the Black Box Analog Design HG-2 a great solution to processing separate instrument’s buses and giving them space within the depth of your mix.
Adding this ‘Air’ band across an entire mix can help provide clarity, focus and a ‘finished’ sheen across your entire mix. The plugin also features an overall ‘Mix’ control, allowing you to blend in as much or as little as you like for parallel style processing. If you need more control though, it’s also common to use more specific and accurate EQ across your whole mix.

EQing an entire mix can help to bring things together, helping to add low end to your carefully shaped and crafted bass guitar and kick, as well as adding the sheen of cohesion to your entire balance. While tube-heavy EQs are a popular choice, they aren’t as forgiving as some more modern options, namely the Maag EQ4, Brainworx having a plugin available. With four bands of EQ, the EQ4 allows you to subtly shape and refine your mix across the Lows, Low Mids, Mids and Highs, as well also offering a ‘Sub’ and ‘Air’ shelf, the ‘Air’ selectable with a few options between 2.5kHz and 40kHz. Yes, this is above the range of human hearing, but we’ll get to that in a moment.

Maag Audio EQ4

The Maag EQ4 is not a surgical EQ by nature, its focus and intention is more succinctly for musical EQing, adding and subtracting sub frequencies, low frequencies at 40Hz (ideal for adding girth to kick and bass), low mid frequencies at 160Hz (great for the bottom end of guitars and mid range instruments) mid frequencies at 650Hz to help focus vocals, solos and keys and high end at 2.5Khz and above to add sheen to the whole mix!

Now, the ‘Air’ band and its 40kHz setting. Why on Earth would you need to boost 40kHz? Well, while we can’t hear 40kHz, the nature of EQ bell and shelf curves is that they begin to pull up frequencies around the focus frequency, so 40kHz will ever so subtly begin to drag up surrounding frequencies at the limit of our hearing, like 18-19kHz, adding a pleasant, supremely transparent sparkle to a mix!

One final note on bus processing is the use of mid-side processing, used by some of the best audio pro mixers, available being in the Black Box HG-2MS plugin more specifically. Mid-Side processing, as the name suggests, allows you to process the mid and side of a stereo signal separately instead of the left and right that is more conventional. This allows you to compress the middle of your mix differently to the sides, the centre often featuring important elements like kick, snare, vocal, solos and more, while the sides are often filled with the rest of the arrangement, effects and reverbs. Mid-Side processing allows you to, for example, process that centre of the stereo image harder than the sides, particularly helpful for building a solid foundation overall.

The saturation from the HG-2MS can ensure those main elements retain all the warm, rich, gooey and fat sounds, while the sides can be a bit more free and transparent sounding. The opposite is also possible! Add ‘Air’ to either the sides or the centre to shift the balance for a more cohesive mix overall.

Mix bus processing is one way to make your mixes sound more refined, finished and, for lack of a better word, professional, and you’ll be mixing like an audio pro in no time. Processing the mix overall, as well as separate instruments, allows you to finish off a more cohesive mix with a chef’s kiss. You can hack away with surgical EQs to make room for everything, before boosting that warmth, drive and thickness back in at the mix bus stage.

EQ overall allows you to push and pull elements forward and back in the mix, while saturation is ultimately a ‘finisher’, allowing you to make sounds bigger, more present and more refined with the turning of a few (digital) knobs! As always, it’s important to experiment with EQing or saturating in different orders. EQ pre-saturation allows you to push certain bands harder into saturation, or vice versa, to saturate and then subtly shift the frequency of the whole mix.

The Plugin Alliance Black Box HG-2 and Brainworx Maag EQ4 plugins will sound good no matter how you choose to use them—and you can consider that a challenge!

Want to get mixing like an audio pro? You can get shop, browse and buy plugins from Plugin Alliance here.