Reunion Blues Gear Case Giveaway
Need to store your favourite piece of gear? Never fear – we’ve got the perfect solution for you.
Thanks to DI Music, we’ve got four amazing Reunion Blues Continental and Oxford gig bags and cases to give away to celebrate this issue, with something to suit every guitarist, bassist and drummer up for grabs.
All you need to do to enter is follow us on Instagram and sign up to our newsletter using the form below, and you’re good to go!
Please note: all giveaways are only available to our Australian readers. By entering, you agree to receive marketing collateral from Mixdown and competition partners.
This competition will close on Thursday December 31, and the competition winner will be notified within two days of competition closure.
Tash Sultana: Australia’s guitar superstar
Five years ago, you might have been fortunate enough to stumble upon a lone busker performing for small change amid the hustle and bustle of Melbourne’s Bourke Street shopping precinct.
Wielding an electric guitar and expertly navigating their way around a loop station to create a smorgasbord of head-snapping grooves and psychedelic guitar solos, it was clear from the get-go that this particular busker wasn’t just your average street performer. Yet still, no one could have predicted the astronomical rise to stardom that laid ahead of Tash Sultana.
After the viral success of their 2016 Notions EP track ‘Jungle’ led into a never-ending touring cycle that’s eventuated in sold out shows and headlining festival sets all over the globe, there’s no doubting that Tash is now well and truly at the top of their game.
At the age of 25, Sultana has achieved more than many could ever dream of, and now they’ve got yet another notch to add to their belt, joining an elite company of shredders to unveil their very own signature model with Fender – one of only three Australian artists to ever do so.
“Honestly, it’s a bit of a no-brainer when one of the biggest guitar companies in the world comes to you and says, ‘Do you want to design your own line?’,” Tash gushes. “It’s like, ‘absolutely man, what the fuck!?’
“The local music store that I’ve been going to since I was seven just told me that they had ordered the guitar when I went in there the other day. I remember I used to be a little kid walking in there just wishing that any guitar was mine, and saving up all my Christmas and birthday money for years just to buy one – now, they’ve got like five of them on the wall, which is just fucking sick.”
With a design that bridges the gap between classic Fender and forward-thinking ingenuity, the Tash Sultana Signature Stratocaster is a testament to the Melbourne multi-instrumentalist’s tremendous musical prowess. Instead of just regurgitating another production model and slapping a signature on the headstock to call it a day, it’s a guitar that’s made to encourage emerging generations of guitarists to follow in Sultana’s tracks, packing all the features necessary to imprint one’s sonic identity on the world stage.
“I wanted a custom-looking guitar for the Signature series,” says Tash, describing the lengths they went to alongside Fender in order to perfect the guitar’s design. “But the thing is, is that it really is a custom guitar. It’s a Signature Stratocaster that exactly suits my specs, and it was really important for me to create an affordable Fender Strat that sounds and looks good.”
Completed over the course of several years due to their endless touring commitments – and set back even further due to the impacts of COVID-19 – the Tash Sultana Signature Stratocaster is truly a unique guitar. With its rich Transparent Cherry finish, matching painted headstock, gold hardware and pearloid pickguard, the guitar packs an immediate visual flair, while an alder body and maple neck adds a classic touch of Fender tone. However, as Tash reveals, their signature guitar could have turned out to be a wholly different looking instrument altogether.
“I actually prototyped a different model first that wasn’t quite right, and I had to make the time to get it right. It was very brown and had a rosewood neck, which is why we had to change direction, because you’re not allowed to do that anymore,” says Tash, referring to rosewood’s status as an endangered tonewood.
“It looked classic, but it looked like an old man’s guitar – like some sixty or seventy-year-old jazz cat was going to pick up this guitar, which is cool, but I’m not a seventy-year-old man, and I just wanted to revamp it a little bit. So we came up with this Cherry Red colour, matched the body to the headstock, popped the gold hardware on there, changed the scratch plate from tortoiseshell to pearloid and put a maple fretboard on, and then I saw it in person and was like, ‘That’s the one. That’s it’.”
One of the defining characteristics of the Tash Sultana Signature Stratocaster also comes via its electronics, pairing two Alnico 4 Yosemite single-coil pickups with a coil-splittable DoubleTap humbucker in the bridge position to allow the player to tap into a wide spectrum of tones. As Sultana reveals, this configuration wasn’t just an off-handed decision in the R&D process, but a deliberate modification to seamlessly integrate the guitar into their live looping set.
“To make the rhythm loops, I’ll always use the neck pickup, because it’s a bit more of a smooth, full warm tone. As I layer things, I’ll move back down the bottom of the guitar and use the single-coil if I’m going to launch into a solo to cut all the way through, and I feel like it channels the wah that I use in my effects chain better.
“When you’re layering, you’re ultimately stacking audio on top of what you’re multi-tracking. With my looping, everything’s multi-tracked, so with the guitar, it’s the distinction of changing things sonically, so you don’t have frequency buildup in the same ranges because you’re stacking layers. If I’m doing something on the front pickup that’s rhythm, I’m not going to put the harmonic layer with the same pickup, because it’s going to clash in the mix.”
Of course, the Tash Sultana Signature Stratocaster isn’t just a guitar built to perform marathon live sets with: as it so happens, the guitar makes its maiden recorded appearance on Tash’s upcoming sophomore effort Terra Firma, which is due for release early next year.
“I actually used it for the first time in a song for ‘Greed’,” says Tash. “There’s a couple of solos where it makes a feature, where I maxed it out with UAD plugins on the effects chain and just had a blast.”
Tash hints at another crucial factor in the how the Stratocaster’s sonic versatility comes into play throughout their live set, talking about how making the switch across to modelling systems from the likes of Kemper and Axe-FX helped to hone their sound even further.
“I made that change ages ago, and I highly recommend it for anybody who loves to merge analog sounds with the digital world,” says Tash. “I still love amps. I have a fuck-load of amps and I love just plugging them in and playing, but mate – if you’re going on tour, you don’t want to lug that shit around when you can just profile them in a tiny little box in my rack.”
Despite having rotated through an arsenal of Strats both on the road and in the studio for years, it may come as a surprise for some to see Tash opt for a Stratocaster when it came time to create a signature model. During their breakout period, the looping phenom was usually be spotted playing an array of other Fender guitars, including an Olympic White Jazzmaster and a slick Richie Kotzen Signature Telecaster.
“That Kotzen Tele is one of the best fucking guitars that I’ve got,” Tash says. “That does not sound like any Telecaster that I’ve ever played. I love that tone, but there’s a time and a place for that in what I’ve been doing. I wouldn’t say I’ve moved over from other guitars, I’ve just added many Stratocasters into the catalogue along the way.
“There was something that I was missing in what I was trying to do sonically that I found when I picked up the Strat. That thin, protruding tone – the ability to shape your tone however thick and warm or thin and screechy as you wanted was something that I couldn’t quite get on the Tele. I could get the full-body tone and the twang, but there was something else: something a bit more jazzy, something a bit more psychedelic rock, something a little bit more like Jimi Hendrix, you know?”
Hendrix isn’t the only factor that led Tash towards the iconic silhouette of the Stratocaster: Sultana also makes mention of another major influence in the form of blues wunderkind John Mayer, who has been a constant source of inspiration upon their playing while cooped up at home over the past year.
“I’ve been doing a lot of that bluesy, jazzy in-the-box playing at the moment with the Strat,” says Tash, noting at how their playing has evolved as they’ve been getting acquainted with the new Stratocaster in lockdown.
“It’s so good to experiment with different technicality, you know? Applying different modes, methods, scales to where you travel on the fretboard. Back in the day, I would follow a couple of the different blues scales to make my way around solos, and now I’ve had the time to sit down and really learn because I felt like I was just regurgitating everything that I already knew rather than exploring the broader horizon with things.
“Once you realise that you actually know fuck all and that so many other people know so much more than you, all of that knowledge is just wealth that you can accumulate in your brain and apply to the shit that you do… man, the sky’s the limit. Everything that we already need is already there, you just need to go and get it.”
Check out the Fender Tash Sultana Signature Stratocaster in guitar stores today.
Reviewed: Shure MV7
With the ever-increasing army of podcast producers hungry for the highest calibre podcast microphone they can afford, Shure have delivered with the MV7. Taking inspiration from the immortal SM7B (famous for being used to capture vocals on Michael Jackson’s best-selling Thriller), this hybrid mic is designed for capturing pristine vocal recordings both inside the studio and at home.
Good design can inspire you, give your home set-up a refreshing air of professionalism or spark a conversation with a potential client. The SM7B influence is immediately apparent in the striking silhouette of the MV7. Look closer and you’ll see that subtly concealed in this retro design is a built-in touch panel which gives you tactile control over gain and monitoring levels.
There’s also a 3.5mm headphone jack to give you immediate monitoring over your vocal performance. Its solid build and robust construction feel ready for the impromptu nature of podcast production.
Being the egalitarian and mobile medium they are, means podcasts are often being produced in imperfect recording environments. Shure know what a modern producer needs and that’s why Voice Isolation Technology is at the fore of the MV7’s design. The MV7 is designed with a unique pick-up pattern to capture purely your voice with minimal room or background noise.
USB connectivity and free software allow for further fine-tuning of the sonic palette; including adjustment of the tone of the recording and setting the distance of the microphone from your voice. Auto Level Control will be another popular feature given the large dynamic range of vocal recordings (I think we’ve all heard enough distortion from gamer’s speed runs to last us a life-time). If you’re no stranger to FX chains there’s a manual mode to adjust an EQ, Limiter and Compression settings.
An XLR input makes the MV7 compatible with any professional studio. You’ll lose the adjust controls but the signal chain you’re recording the XLR into will hopefully have these instead. There’s no small overlap between podcast producers and musicians and I think this is who Shure had in mind with this hybrid aspect of the MV7. Being able to record a demo at home on the computer is great but getting to bring it to life with preamps, EQ’s and compressors certainly appeals to us at Mixdown Magazine.
It’s a smart move by Shure to make their iconic SM7B vocal mic not only more affordable but better suited to a digital workflow. They know that podcasting with entry-level equipment is a short-lived affair and those in it for the long-run are after a quality microphone. The ShurePlus MOTIV app really opens up a refined set of tools to shape the sound the MV7 can capture, to get the most out of your voice in a limited recording environment.
While the SM7B design works so well for Joe Rogan with his professional team of producers, the MV7 offers the perfect podcast mic for producers looking to go the next level, without having to invest in an entire studio.
For more details, visit Jands’ website today.
STUMPS break down the influences behind their rousing debut, All Our Friends
There was no better era for indie rock than the mid-’00s – that’s a fact. The angular interweaving guitars, fist-pumping choruses and driving disco beats employed by Bloc Party, Foals, Phoenix and Two Door Cinema Club not only soundtracked the era of flip phone, but helped to bring indie rock into clubs around the world and kicked down the door for hundreds of acts to follow in their wake.
One such group – and one of the brightest bands in Australia’s indie rock scene today – is none other than Sydney’s own STUMPS. The trio, fronted by charming lead vocalist and guitarist Kyle Fisher and bolstered by the relentless rhythm section of Merrick Powell and Jonny Dolan, play a brand of indie rock that’s forever indebted to the heroes of the 2000s without being a pastiche of the sounds of the era.
On their debut album All Our Friends, STUMPS showcase their talents across 12 sensational tracks that merge powerful performances, intricate production and heartfelt songwriting for a record that’s limitlessly exuberant and fun. It’s a record that’ll please both old school indie purists and new listeners alike, and begs to be heard played obnoxiously loud to a sweaty dance-floor full of slippery limbs.
With the release of the record today, we linked up with each member of STUMPS to find out more about the influences behind the making of All My Friends.
Fleet Foxes – ‘Helplessness Blues’
Kyle: ‘There are few artists out there in modern music that can take you to another place, another world. Especially without the gentle rub of nostalgia. From the moment I first heard Fleet Foxes I was entirely transported. The moment you put on a Fleet Foxes record is akin to taking your first steps into a fantasy.
‘I was a fan of Fleet Foxes after initially hearing ‘Mykonos’ on a surf-movie called ‘Castles in the Sky’, but it was ‘Helplessness Blues’ that blasted an artistic hole through me. How the fuck can someone write a song this perfect?’
Digitalism – ‘Pogo’
Merrick: ‘I was first showed this song by a dear friend and it became the anthem of our pointless night time teenage endeavours. Times when we would sneak out of the house just for the sake of it, with zero plan of where to go and what to do. It was also in the middle of a time where dance-rock combos ruled our listening, when bands like Cut Copy, Midnight Juggernauts, and Gossip were ruling our iPod shuffles.’
Bloc Party – ‘Helicopter’
Jonny: ‘I remember seeing the music video for this song on Rage or Channel V or something when I was young, and was taken aback by it straight away. It’s definitely not the best video I’d ever seen or anything like that, but the music itself just struck something with me. It was my first proper taste of indie rock, those jagged guitar driven hooks—it led me down a path to discovering many other bands, like Franz Ferdinand and Arctic Monkeys, or pretty much any other band on FIFA ’06.’
CHVRCHES – ‘The Mother We Share’
Merrick: ‘This is probably the last song I remember listening to on repeat, for the next however many days… I was obsessed with everything about it. The same can be said for pretty much their whole discography, it’s incredibly intelligent pop music with the right amount of ’80s throwback (read: heaps).’
Paramore – ‘Decode’
Jonny: ‘This is such a fun song to play on drums. This band’s influence on me as a drummer is pretty immense, and each album they put out makes me love them more. Every new direction they take just works, and they have a knack for writing bangers.’
Black Kids – ‘I’m Not Gonna Teach Your Boyfriend How to Dance With You’
Merrick: ‘This one entered my library as a free iTunes single of the week. It has a classic indie rock guitar part, complete with bass octaves, really playful synth melodies, and chanty group vox. 10/10 indie pop.’
Blur – ‘Beetlebum’
Kyle: ‘If there was ever a soundtrack to my first memories, a four-year-long loop of Beetlebum would be accurate. Every car trip, every lazy Saturday morning, every chance I could get, I begged my Dad to play this song. Something primal within my doughy five-year-old brain simply resonated with it.
‘It wasn’t until much later, and after the passing of my father in 2001, that I realised how formative Damon Albarn was for me. It’s one of my favourite songs of all time, but not for any joyous or melancholic reason. It just simply is. I know it sounds pretentious, but this song has been with me as long as I can remember. I know it almost as if it were a friend.’
All Our Friends is out now via Cooking Vinyl Australia.
Arctic Monkeys, Deafheaven + more: five new releases to listen to this weekend
Friday has finally arrived, which means it’s release day for a bunch of artists at home and around the world. With so many hot releases out there to tuck into, we’ve compiled some of the best to present to you for the weekend.
To kick off this week, we’re exploring two extraordinary live albums from two of the most inspiring acts of the past decade – Arctic Monkeys and Deafheaven – as well as a ripper effort from Sydney indie stars STUMPS, a revisited EP of material form Mia Dyson’s ARIA Award-winning record Parking Lots and the new one from Maryland rapper Rico Nasty. Let’s dive on in!
Arctic Monkeys – Live At The Royal Albert Hall
Few groups have shaped the course of indie rock over the past 15 years quite like Sheffield’s Arctic Monkeys have. From their raucous up-strummed stylings of their iconic debut and its all-too-underrated follow up Favourite Worst Nightmare through to their explorations into desert rock, smouldering balladry, hip-hop and lounge music in the decade that followed, the band – bolstered by the ever-fascinating penmanship of Alex Turner – have blazed a trail for dozens to follow, and it’s this legacy that they aim to cement with the release of Live At The Royal Albert Hall: an electric live album with a career-spanning setlist that sees the band at the peak of the powers.
Recorded on the band’s Tranquility Base Hotel & Casino tour in 2018, Live At The Royal Albert Hall is jam-packed with 20 songs that see the Monkeys at their finest. Matt Helder’s drumming is explosive on early cuts ‘Brianstorm’ and ‘Crying Lightning’, while bassist Nicholas O’Malley’s muted playing on AM tracks ‘Arabella’ and ‘Knee Socks’ injects a subtle hip-shaking funk into the band’s sound.
The band’s expanded ensemble help to bring tracks like ‘Star Treatment’ and ‘Four Out Of Five’ to life in a manner many would have missed on the studio versions, while the unflappable Alex Turner is in top-notch form across the performance as he croons, growls, shouts and shreds his way through the band’s discography, making for a sumptuous experience that any indie fan will thoroughly get behind.
Deafheaven – 10 Years Gone (Live)
Deafheaven are a force to be reckoned with. Fusing influences from black metal, shoegaze and post-rock, the San Fransisco band are among one of the most critically acclaimed metal acts of the 2010s, with their now-legendary 2010 demo and their spellbinding sophomore effort Sunbather asserting them as one of the most dynamic bands going today.
On 10 Years Gone, Deafheaven celebrate their massive decade with an immense live album that sees them perform the set they intended to perform on their now-scrapped 10 year anniversary tour, delivering eight visceral, explosive tracks for fans to devour. With a wide ranging setlist that includes their first ever song ‘Daedalus’, fan favourites ‘From the Kettle Onto the Coil’ and the immense Sunbather closer ‘The Pecan Tree’, 10 Years Gone is the ultimate chronicle of just how great Deafheaven truly are.
As expected, George Clarke’s vocals across the record are simply mind-boggling, while the textural guitar arrangements of Shiv Merhra and Kerry McCoy on tracks like ‘From the Kettle Onto the Coil’ and ‘Vertigo’ are as pristine as they are brutal. Chris Johnson’s melodic basslines stand out across 10 Years Gone more than ever before, and of course, Daniel Tracy’s drumming is totally punishing. There’s no denying that 10 Years Gone is a record that’ll go down as a defining document in the story of Deafheaven, and with the band already working on new material for 2021, it seems like that story won’t be ending too soon yet.
STUMPS – All Our Friends
All Our Friends, the debut LP from Sydney indie outfit STUMPS, positions them as one of the country’s most exciting groups of their calibre. Drawing influence from the likes of Bloc Party and Phoenix, the trio channel an electric palate of angular guitars, driving disco rhythms and anthem hooks to stake their case as the next big thing from down under.
Album opener ‘Mt. Pleasant’ carries all the potency of Bloc Party’s own electric debut Silent Alarm, while the chorus-soaked guitars and guitarist/vocalist Kyle Fisher’s sing-shout baritone on ‘Laugh About It’ brings back all the sonics of a dirty 2009 dance floor in a spruced up manner for modern ears. Meanwhile, the bouncy bass groove and catchy hooks of ‘Suburbia’ and ‘Mouth Static’ stick out as album highlights, with their subtle synths and relentless drums further asserting the Sydney trio’s instrumental prowess.
While there may be a few sonic elements of All Our Friends that will never not be tethered to mid-’00s indie, it’s the exuberance and energy that STUMPS bring to the genre on their debut that pulls it across the line. A wonderful, nostalgic listen for any indie purist.
Mia Dyson – Parking Lots (Revisited) EP
Mia Dyson’s Parking Lots was a tremendous release in 2005, fusing rootsy blues rock stylings with heartfelt arrangements and spotlighting Dyson’s talent as a vocalist and songwriter alike. 15 years on, Dyson has released a new EP of reworked tracks from the record in the form of Parking Lots (Revisited), shining a new light on the record and offering a fascinating listening experience for die-hards of the original release.
Based around a stripped-down sonic palate, the brunt of Parking Lots (Revisited) sees Dyson paired with nought more than the bare essentials, putting the focus straight on her storytelling and strong vocal inflections. The scuzzy garage blues of ‘Roll Me Out’ is replaced with a tender arrangement led by plucked guitars and pianos, while ‘Parking Lots’ stays relatively faithful to the original arrangement, save for a plinky honky-tonk piano and foot stomping groove to power the tune.
Dyson’s vocals across Parking Lots (Revisited) are pristine, with her delivery on tracks like ‘I Meant Something To You Once’ and the Hammond-accompanied ‘Choose’ standing out as major highlights on the tracklist, making for a fantastic reinterpretation of an already brilliant album.
Rico Nasty – Nightmare Vacation
A dynamite presence in today’s hip-hop landscape, Rico Nasty has stepped out with her latest full-length Nightmare Vacation: a hard-knocking collection of impeccably produced and written trap, drill and contemporary hip-hop that sees her in peak form for a thrilling 16 song effort.
For fans of her earlier works, ‘Candy’, ‘OHFR?’ and ‘Check Me Out’ see Rico Nasty lay down her aggressive vocal inflections and high-energy over obnoxious trunk-rattling 808s that are bound to spark any festival crowd into a seething moshpit.
Nightmare Vacation also sees Rico explore different styles and put her own colourful spin on them to varying effect: the soaring, Amine-assisted ‘Back & Forth’ is without a doubt one of the record’s best tracks, whereas the AutoTune-drenched ‘Loser’ with Trippie Redd comes off as awkward and forced.
Nevertheless, Nightmare Vacation is a thoroughly enjoyable and unique rap release that solidifies Rico Nasty’s spot as one of the brightest talents in hip-hop today, and there’s no denying that this album is going to go hard as hell when played out onstage – whenever that may be.
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Good Things Festival announce dates and venues for 2021
Good Things Festival, Australia’s favourite alternative music festival, has today revealed the dates and venues planned for next year’s events.
Good Things 2021 will go down in the first week of December 2021, with large outdoor events being planned over three days in Melbourne, Sydney and Brisbane.
To the delight of many, the festival will be returning to the same venues as last year’s events, with Melbourne’s leg going down at the Flemington Racecourse, Sydney being planned for Centennial Park, and Brisbane bringing it home at the Showgrounds.
The Good Things team have also stated that they’ve used all the downtime this year has brought to plan one of their biggest events yet for 2021, booking a full lineup to deliver a live music experience unlike any other.
“We have built Good Things into a day that is looked forward to by alternative music lovers across the Country,” a statement from the team reads.
“We cannot wait to deliver another incredible event for you all next year, so save the date as we reveal the dates and venues for Good Things Festival. So, in that spirit we say Frick Off to 2020 and bring on 2021!”
Check out the dates and details below.
Good Things Festival 2021
Friday December 3 – Flemington Racecourse, Melbourne
Saturday December 4 – Centennial Park, Sydney
Sunday December 5 – Showgrounds, Brisbane
Head to the Good Things Festival website to sign up for all updates.
Abbey Road Institute Australia to open at Studios 301 in 2021
Abbey Road Institute Australia has today announced that they’ll be partnering with Studios 301, one of the most historic recording studios in the Southern Hemisphere, to deliver an unparalleled audio education experience for students in 2021.
Studios 301, who play host to some of the country’s best engineers and have previously worked on recordings for everyone from Kanye West and David Bowie through to Cold Chisel and Kimbra, will be opening their doors for Abbey Road Institute students to experience working in their iconic facility, delivering a hands-on apprenticeship to prepare participants for the rigours of the recording industry.
Participants in the 2021 programme will undertake a specialised one-year program to obtain the Institute’s Advanced Diploma in Music Industry, with small class sizes of under 25 students ensuring that they receive the personalised experience needed to hone their sonic skills in production, mixing, mastering and beyond.
“This professional integration, unique in Australia, will offer Abbey Road Institute students access to one of the best recording studios in the world as an important part of their learning experience,” Ron Haryanto, Studios 301 General Manager and Abbey Road Institute Sydney CEO, said in a statement shared today.
“Our team at Studios 301 will add another layer of perspective and music industry experience to their education. The teaching spaces will be located within our world-class facilities, with the Institute having their own dedicated studios, production and writing rooms and classroom, alongside our commercial spaces dedicated to our existing and growing client base.
“Studios 301’s dynamic array of specialised skills, recording experience, technical excellence and industry links will now be available to Australia’s up and coming talent to help them become the music producers and audio professionals of the future and that is a truly exciting partnership.”
The 2021 intake for Abbey Road Institute Sydney’s 2021 program will begin on Monday 21 June, 2021.
Find out more course details and apply today via Abbey Road Institute Australia.
Tash Sultana teams up with Fender for new Signature Stratocaster
Few artists have experienced the career trajectory Tash Sultana has within the space of five years. From their early days busking in Melbourne through to spellbinding crowds in their thousands at festivals around the world, Sultana has risen to become one of the best-known Australian guitarists of the new millennium, and now, Fender have debuted a Signature Stratocaster to prove it.
The Tash Sultana Signature Stratocaster marks the first time Fender have partnered with an Australian artist since the launch of Diesel’s Signature Strat back in 2018. Considering they’ve been seen shredding it up on an array of Fender guitars since day dot, it was a given that we’d see the two parties link up somewhere down the line, and what we’ve got today is simply sublime.
With its rich Transparent Cherry finish, matching painted headstock, gold hardware and pearloid pickguard, the Signature model packs an immediate visual flair, while an alder body and maple neck adds a classic touch of Fender tone.
Built to Tash’s specs, the neck features a Deep C profile and a 9.5″ radius fretboard with 22 medium jumbo frets, making for an exceptionally nimble platform for fancy fretwork. Meanwhile, a classic six-point synchronised tremolo should aid in all your wild whammy bar tricks, while a set of six modern Fender staggered tuners should keep things steady the whole way.
For the electronics, Tash has opted for a HSS set-up, with a Double Tap humbucker occupying the bridge and two Fender Yosemite single-coils sitting pretty in the neck and middle. There’s also a push-pull tone knob to engage the humbucker’s Double Tap feature, which cuts the coils and lets you tap into that classic bridge pickup chime.
To cap it all off, Tash has adorned the Signature Stratocaster with a golden skull logo and signature on the neck-plate of the guitar, with another signature being found on the back of the headstock.
Guitars aside, we’re just so stoked to see an Australian artist achieve something like this in such a short time. Tash is one of the hardest working artists in the game today, so to see them recognised for it in such a big way is nothing short of sensational.
Find out more about the Tash Sultana Signature Stratocaster via Fender Music Australia.
Elektron, HEDD Audio + more: our top five gear releases of the week
This week, we’re checking out a limited new Octatrack from Swedish juggernauts Elektron plus a new monitor range from Berlin titans HEDD, as well as new gear from PreSonus, Bad Cat and Mr. Black.
1. Elektron Octatrack MKII Anniversary Edition
Released to the public back in 2010, the Elektron Octatrack was nothing short of a gamechanger for electronic music producers, offering eight tracks of dynamic sampling and performance inside a sleek interface perfect for the stage or the studio.
A contemporary device that excels with filthy techno, pumping house and broken beat hip-hop alike, there’s been few machines impact the world of hardware in the 21st century quite like the Octatrack, and now, Elektron are celebrating their flagship device with the Octatrack MKII Anniversary Edition.
Limited to 350 units, the MKII Anniversary Edition features an aesthetic fusion of elements from both MKI and MKII of the Octatrack, and is loaded with a bunch of unique artist content and items onto a custom 32GB CF card. It’s also wrapped up in a sweet box with artwork from Tokyo-based artist m7kenji, and comes with a matching poster to boot. Head to the Elektron website to snag one ASAP!
2. HEDD Audio MK2 Monitor Series
Berlin audio gurus have presented a massive new launch with the MK2 series of studio monitors, offering four new monitors and two subwoofers to their esteemed product range.
Featuring those killer AMT tweeters pioneered by HEDD and ADAM Audio co-founder Klaus Heinz, the MK2 range is comprised of two 2-way and 3-way monitors – the Type 05 MK2 and Type 07 MK2 being the former, and the Type 20 MK2 and Type 30 MK2 fulfilling the latter. Both variations feature the inclusion of the HEDD Lineariser, a phase linearisation tool to provide enhanced spatial reproduction and sublime impulse responses, as well as a number of filter options and analogue-digital I/O connectivity. There’s even a removable foam plug to let you choose whether you want a ported or closed back monitor – nice!
Meanwhile in sub land, the HEDD Bass 08 offers 300 watts of power into an eight inch woofer with a frequency response of 24-80 Hz, whereas the Bass 12 provides a whopping 700w of power into 12″ woofer with a frequency range of 20-80Hz. The series is set to be rolled out this January – keep your ears to the ground to find out more when they land.
3. PreSonus Eris Sub8
Speaking of low frequencies, here’s something a bit special: PreSonus have debuted their first ever subwoofer in the Eris range, providing a compact solution for producers using their smaller studio monitors to achieve all the rumble they could ever dream of.
Best paired with the Eris 3.5 and 4.5 monitors, the Eris Sub8 features an eight inch woofer with 100 watts of power, delivering a frequency response that extends all the way down to 30Hz. There’s also an input gain control and sweepable low pass filter to tune your subwoofer’s crossover frequency to match the monitors, as well as an phase inversion switch and selectable high pass filter.
The sub features stereo inputs and outputs to let you easily hook it up to an array of sources, making it suitable for producers, DJs, or even just audiophiles seeking to add a bit of low-end punch to their listening room.
4. Bad Cat Double Drive
Touted as the replacement for their popular Siamese Drive, the Bad Cat Double Drive promises a dual-sided overdrive pedal with amp-like characteristics to tap into everything from a subtle volume boost through to snarky, saturated high-gain tones.
The pedal features two independent and fully stackable channels, with controls for Gain, Tone and Output offering a no-fuss, streamlined solution for all your overdrive needs.
Considering the esteemed reputation of the Bad Cat amplifier family, we reckon there’ll be a lot of guitarists out there keen to get a piece of Double Drive action. Hear the unit in action below, and keep your eyes out for when they land with dealers soon.
5. Mr Black Analogue Chorus/Vibrato Deluxe
When it comes to boutique effects, Mr Black is a bit of a favourite here at Mixdown HQ: their tidy little enclosures and cool approach to design never fails to impress us, and they sound great to boot. Their latest offering, the Analogue Chorus/Vibrato Deluxe, sees the brand do something a little different, opting for a larger chassis to house a BBD chorus and vibrato effect.
Combining an analogue bucket-brigade chorus chip with digital control for further versatility, the Analogue Chorus/Vibrato Deluxe features four selectable Triangle, Square, Sine and Glitch/Random waveforms, with a nifty tap-tempo switch to control the rate of the digital LFO. The pedal also features a Lag control to add bucket-brigade delay, while a Shine control allows you to trim the high-frequencies should you please.
Hear the unit in action via the demonstration video below, performed by none other than the legendary Andy Martin.
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First Look: Ableton Live 11
Ableton, a staple in the electronic music scene, builds upon past iterations to deliver its best product yet, with a clear focus on user interaction and improved sound quality for its native plugins.
You’d have to be living under a rock to be in the music biz and not know what Ableton is. This digital audio workstation has been the champion of live electronic performers and laptop producers worldwide since its inception in 2001.
Touted for its ease of use and gorgeous aesthetic, this installment is no exception with Live 11 adding a stack of functionality that makes it contend for the only DAW you will ever need.
Ableton Live 11 adds comping to its bag of tricks, allowing multiple takes to be easily edited and previewed. Combine this with the new track linking feature and you’ve got a new competitor for studio recording software.
For example, using both of these features allows you to record multiple takes of a drummer to a click track, then linking these channels allows you to pick the best takes and comp all linked channels with one click while maintaining phase coherence. Watch out ProTools – you’ve got serious competition now.
Major improvements to the clip interface are a welcome addition to Live 11. Features that were previously locked to individual devices such as Velocity and Scale are now accessible on every clip created. Each clip can have it’s own set scale which allows for intuitive user input as the notes of the selected scale are highlighted on the piano roll and the key will automatically change on an Ableton Push.
Each note can have a range assigned in which velocity will be randomised within this area or you can apply a one click randomisation to selected notes which will maintain the velocity settings on loop. In combination to this each note can also have a probability if it will trigger or not separate to these settings allowing for creative indulgence to the max.
Selecting multiple clips lets you edit all of them at the same time without having to switch between them. You can also highlight one clip to edit while seeing other clips underlaid. This makes tracking your progressions very intuitive. Combine this with MIDI drawing now able to be locked/unlocked to a single note and you’re making music quicker than you ever have.
MPE (MIDI Polyphonic Expression) from instruments like the ROLI Seaboard can now be recorded as automation which allows for extra feel in songwriting. With easy editing via the new clip interface, even without one of these devices you can automate these parameters with just your mouse and keyboard. Currently Wavetable, Sampler and Simpler can utilise this extension.
On the live performance side of upgrades, Live 11 introduces tempo follow, the ability to automatically sync your project with external audio in real time. This is a huge step for bands wanting to utilise the power of this software while still having live elements in their sets. With this turned on all FX and audio will line up with the external signal – no more out of sync delays!
Follow actions, a fairly underused part of Ableton, have been given a facelift with the ratio settings gone and an easy to use slider in its place. They’ve added the ability to trigger a specific clip through this menu where as previously the clip had to be next to or at the top or bottom of the channel. There is now a master follow action switch which turns on and off all follow actions with one click.
Scenes have had major additions this version, allowing for follow actions to be implemented across them as well as the ability to change BPM and time signatures for individual scenes. For performers, this allows you to have your whole live set on a single project without having to fiddle/remember what BPM your fourth track was while on stage or add variations to parts of a track without automating them.
Device groups and macros have new features which allow you to use and show 1-16 macros, randomise all of them with one click (with the ability to turn off specific ones) and save multiple macro settings directly to the group. It seems one of the major drives behind this release is on easily and seamlessly creating variations in your music.
Ableton’s effects and instruments have been given a serious treatment this version, adding quality of life upgrades for look and feel.
Hybrid Reverb, one of the new native effect plugins combines a convolution reverb with an algorithmic reverb with fantastic results. There’s a bunch of great sounding impulse responses built in or you can drag and drop your own for interesting outcomes. Being able to blend, and change the way the reverbs are routed make possibilities for this effect endless. Definitely one of the best new plugins and a great alternative to the current reverb.
Spectral Time and Spectral Resonator are very unique effects with many by-products that surprised me. The Spectral Resonator works with MIDI information and can be used as a pseudo vocoder which sounds super tight with plenty of depth and provides unique sound qualities when set to internal mode as well.
Spectral Time is great for reimagining sounds. It has a freezing ability that can be synced to your BPM which can then be tweaked with custom fade in and out values with sounds ranging from very dynamic to extremely ambient. The delay shifts frequencies up or down, and you can focus on the higher or lower bands with tilt and mask. Very excited to add this one to my productions.
Redux, a previously average sounding unit has extra features added. In particular jitter allows for smoother bit reductions plus the addition of a built in filter making this very enticing to use in it’s upgraded version.
Phaser and Flanger have been combined into one device with easy switching between plus the addition of a doubler inbuilt. Chorus has been extended to become Chorus-Ensemble with multiple options including a vibrato which is perfect for synths that don’t have one built in. In addition to this, Tension, Collision, Corpus and Electric have had their interfaces changed to allow for increased interaction.
Ableton has promised more Max for Live devices in this upcoming release but currently there are only a few new additions available. PitchLoop89 by the legendary Robert Henke, who is one of Ableton’s founders and created the much loved Granulator device is the pick of the bunch. With a plethora of options available, this tape delay style plugin with pitch shifting is fantastic for creating subtle to dramatic changes with whatever you feed into it.
Effects have been grouped in the browser to make new users feel more at home while adding dedicated groove and template folders so they’re not so hidden behind menus as they were in previous editions. This revamp will also include new instruments with which Ableton is collaborating with Spitfire providing new takes on piano, brass and string sounds.
CPU metering is now more clear then ever. You can view average or real time CPU usage while also seeing how much each track is pulling. This is the best upgrade anyone could ask for as you can make quick decisions about what channel to freeze or bounce to create room for more tracks and effects, especially on slower workstations.
All in all, Ableton Live 11 is a well thought out expansion of tools for music creators and engineers of all skill levels, combining new ways to interact and gorgeous new effects which I cannot wait to deep dive into and get creative with.
Ableton Live 11 is out in early 2021. Find out more here.
GekkoSound G.Boost Pedal Giveaway
GekkoSound are a recently minted Melbourne boutique pedal company, specialising in all-analogue gear to spruce up your tones something special. To celebrate their launch, we’re giving away one of their handmade G.Boost pedals – providing up to 26dB of ultra clean boost into your signal without meddling with your natural tone and dynamics.
To enter, all you need to do is follow Mixdown Magazine on Instagram, then subscribe to our newsletter using the form below, and you’re good to go!
Please note: all giveaways are only available to our Australian readers. By entering, you agree to receive marketing collateral from Mixdown and competition partners.
This competition will close on Thursday December 31, and the competition winner will be notified within two days of competition closure.
Gibson unleash the Slash ‘Victoria’ Les Paul Standard Goldtop
Guns N’ Roses guitar hero Slash has once again partnered with Gibson to debut the ‘Victoria’ Les Paul Standard Goldtop, paying tribute to one of the top-hatted guitarist’s most iconic riff machines.
Packing a hefty mahogany body with a dark finish on the sides and back and a maple cap with a flashy gold finish, the ‘Victoria’ Goldtop is right up there with one of Gibson’s most eye-catching guitars released in 2020.
The instrument features a standard C-shaped neck profile and a rosewood fretboard with 22 medium jumbo frets and a Graph Tech nut, ensuring for a comfortable hold up and down the neck while playing chords and single note runs alike.
In the electronics department, the ‘Victoria’ Goldtop features two Gibson Custom BurstBucker Alnico 2 humbuckers, with Orange Drop capacitors and hardwired electronics pushing it further into premium territory.
Other additions to Gibson and Slash’s latest signature offering include Schaller strap locks and Slash signature Ernie Ball strings, plus a leather strap, blank truss rod cover, Slash Jim Dunlop Tortex pick set and a multi-tool, all packed into a vintage hard shell case for safekeeping.
Check out all the specs via Gibson’s product page today.
Sunbury Festival ’73 to be reissued on vinyl this January
Deemed to be one of the most significant events in the shaping of Australia’s musical identity, Sunbury 1973 is set to receive a triple vinyl reissue this summer.
Held across January 27, 28 and 29, Sunbury ’73 was attended by an estimated 30,000 music fans, with an $8 ticket allowing them to witness Madder Lake, Billy Thorpe, Kerryn Tolhurst, Lobby Loyde and Johnny O’Keefe over the span of three days.
The festival was recorded onsite by John French and was subsequently released by Michael Gudinski’s newly minted Mushroom Records as The Great Australian Rock Festival – Sunbury ’73.
The record was both the first ever release from Mushroom Records as well as the first ever triple LP cut down under, and helped to establish Gudinski as the omnipresent force in the music industry that we know him to be today.
“With Sunbury, we wanted to make a statement that Mushroom was a serious record label that we wanted the retailers, the media, the musicians, the public to take seriously and know we meant business for Australian music,” Gudinski said in a statement shared alongside the announcement of the reissue today.
“I thought it was an amazing coverage of what was three days of incredible Australian music. And it was the perfect springboard for the label and consolidation for Madder Lake and the other bands that were there at the time.”
Set for release on Friday January 22, the 2021 repressing of The Great Australian Rock Festival – Sunbury ’73 will feature all of the same tracks as the original release, and will be pressed to watermelon red wax – a nod to the ever-entrepreneurial Gudinski selling watermelons to punters at the festival.
Preorder The Great Australian Rock Festival – Sunbury ’73 via Bloodlines.
The top five Sennheiser products for musicians these holidays
It’s hard to believe, but once again, the festive season has snuck right up on all of us, giving us the perfect chance to give back to our friends and family with a whole swag of fun gifts. If you’re hunting for the perfect present to give to a musician these holidays, Sennheiser have well and truly got you covered, with their wide range of headphones and microphones suiting all kinds of musicians, producers and listeners.
To help refine your shopping list, we’ve teamed up with Sennheiser to spotlight five of the best gifts to keep your eyes peeled for this Christmas.
Sennheiser MK 4 Microphone
A high-quality cardioid condenser microphone should be a mandatory item for all musicians and producers, regardless of whether they’re operating in a DIY home studio or a fully-kitted professional recording room.
Constructed in Germany, Sennheiser’s MK 4 seeks to fill that niche by providing a condenser microphone with shimmering sound quality and an affordable price-tag, making it a no-brainer for audio professionals of all backgrounds.
With its sturdy 24-carat gold-plated diaphragm, metal housing and large 1” capsule, the MK 4 is rugged yet incredibly lightweight, selling it as a suitable solution for use both onstage and in the studio.
A frequency range of 20 Hz – 20 kHz and maximum SPL of 140dB means that the MK 4 will handle everything from acoustic guitars and speaker cabinets through to sung and spoken vocals with ease, delivering a rich, full sound across a range of sources.
Meanwhile, the MK 4’s internal shockmount and low inherent self-noise helps to make your recorded tracks sound cleaner than ever before, which could come in handy for any budding podcasters or content creators out there.
Coming bundled up with a storage pouch and MZQ 4 clip to mount onto a microphone stand, you’d be hard pressed to find a better bang-for-buck condenser microphone than the MK 4.
Expect to pay: $419
Sennheiser e 835 / e 835 S
In the market for a high-quality vocal mic for live performance and use in the studio this Christmas? Don’t overlook the e 835: Sennheiser’s acclaimed take on the tried-and-true dynamic cardioid microphone, a killer choice for scenarios where clear sound and high volumes are a priority.
Built with a tough metal chassis, the e 835 is surprisingly sleek and featherweight, catering for all kinds of microphone grips and mounted applications. A frequency range of 40 – 16000 Hz guarantees consistent results for both booming bass vocals and squeaky falsettos alike, avoiding the trappings of the muffled midrange found all-too-often in dynamic microphones in this price range.
The e 835’s ability to withstand feedback even at extremely loud volumes makes it a perfect pick for live vocalists – particularly those competing against over-eager bandmates – while the cleverly designed capsule makes sure that vocals will retain clarity and presence from far distances. Should you need, there’s even the e 835 S, which features an additional on/off switch for quick muting onstage.
Whether you’re a singer in a brutal metalcore group or a public speaker seeking to cut through the noise at your upcoming festive function, the Sennheiser e 835 has got you covered on all fronts.
Expect to Pay: $149
Sennheiser e 935
If you’re a fan of the looks and sound of the e 835 but need something with a little bit more output and versatility, the Sennheiser e 935 is bound to tick your boxes.
A world famous mic for live vocals, the e 935 is renowned for its strikingly natural tonality, with a sensational transient response allowing for a smooth sound with plenty of detail and nuance. A frequency range of 40-18,000 Hz means that it’ll endure super shrill treble and ultra low bass with ease, making it a slightly more versatile option for live vocalists.
Despite being crafted from 100% metal and weighing a little more, the e 935 is actually slightly smaller than the e 835, which should be seen as a big plus for those who like to sing or speak while roaming around the stage, while its cardioid pickup pattern delivers a ever-reliable response between off-axis and on-axis placement.
The e 935’s internal shock-mounted capsule and hum compensating coil minimises harsh noise and unwanted pops, while its high output – a massive drawcard for this particular microphone – makes sure your voice will be heard with detail and clarity, even amid the most cluttered of mixes.
Expect to pay: $229
Sennheiser HD 200 PRO
You can’t ever go wrong with a pair of headphones for a last-minute gift idea – especially with a bargain as good as this one. Until the end of the year, Sennheiser’s HD 200 PRO headphones are being offered at a special price of $99 AUD, making the brand’s legendary audio quality more affordable than ever before.
With their closed-back and around ear construction, the HD 200 PRO headphones are an ideal pick for musicians seeking a set of cans for silent practice, recording demos or even just for casual listening. Utilising Sennheiser’s proprietary transducers, the headphones promise mind-blowing sound quality with gorgeous stereo sound reproduction, with a particularly punchy low-end making them perfect for hip-hop and EDM producers.
A padded headband and pair of super soft ear pads makes for a comfortable listening experience over extended periods of use, while the HD 200 Pro’s ambient noise attenuation blocks out background noise and ensures that you stay focused on the task at hand. Their tough two-metre long cable allows you to move freely without getting snagged or coming unplugged, while an included 1/4” stereo jack adapter lets you use the HD 200 PRO headphones with a myriad of devices.
Expect to pay: $149
Sennheiser HD 25
If you’re hunting for gift ideas for a budding DJ, there’s no better option in the headphone department than the iconic Sennheiser HD 25s. Heralded as an industry standard in the booth since being introduced to the market in 1988, the HD 25 headphones are simple, tough and – most importantly – sound sensational.
DJing can tend to be quite a noisy profession, which makes it important to have a set of cans that can not only withstand loud environments, but thrive in them. The HD 25’s ability to handle ludicrous sound pressure levels guarantees unbeatable performance even in the loudest of booths, while their aluminium voice coils deliver high sensitivity to make for an exceptional monitoring experience.
One of the big draw cards of the Sennheiser HD 25s is their unparalleled flexibility, with their rotatable capsule facilitating simple single-ear monitoring to help DJs transition between tracks with ease. Their breezy weight and robust build also allows for easy transportation and storage, while a foam-padded headband and ear cups lets you mix away for hours without any ear fatigue.
Of course, the HD 25s are world-renowned as DJ headphones, but that doesn’t limit them to use in the booth. Whether you’re podcasting, recording or even just casually listening, there’s not many headphones on the market that can trump the quality of Sennheiser’s HD 25 headphones.
Expect to pay: $239.95 (usually 349.95)
Head to Sennheiser’s website to check out their full product range.
Mixdown’s top jobs in the Australian music industry (this week)
Whether you’re looking for a casual job to keep the lights on between gigs or you’re on the hunt for a major career change, the music industry’s a tough place to crack into. To help out, we’ve compiled some of the best jobs going in the Australian music industry today, featuring opportunities from Believe Digital, APRA AMCOS, Warner Music Australia, Billy Hyde Music and Beehive PR.
Digital Marketing Manager – Believe (Melbourne)
A leading name in digital distribution for independent music artists, Believe is on the hunt for a savvy marketing guru to join their Melbourne office to spearhead artist and release marketing strategies for 2021.
Skills / Experience Required:
- As an internal consultant you have consulting skills and you are client service-focused
- Strong knowledge of social media and online promotion strategies
- Ability to build creative and innovative artist development campaigns
- Data driven & results oriented : ability to analyze and use data to optimize development
- Structured, organized, ability to follow process and monitor budgets.
- Knowledgeable about market trends, music industry developments and digital innovations
- Extensive knowledge of (genre) market
- Excellent written and verbal communication skills
- Highly motivated and organised with excellent time management skills
- A team player with creative ideas and a positive attitude
- Passion for music
Tasks / Responsibilities Include:
- Create & Execute Creative & Effective Campaigns across content (incl AR, VR, video and pop culture), social & digital media channels, CRM, media buy
- Build strong Case Studies
- Have strong experience, insights and great results with an “Always On” strategy
- Be very effective at audience development and Engagement (Socials, CRM)
- Be able to plan, monitor and optimize within budget, across a range of small to large campaigns
- Be analytical, data driven, and delivers insightful reports with clear action points
Don’t snooze on this one – head to LinkedIn to apply today.
Manager, Digital Licensing (Media Licensing) – APRA AMCOS (Sydney)
As the governing body representing the publishing and royalties of Australian musicians, APRA AMCOS is one of the most important forces in the national music sector today. They’re currently looking for a candidate with previous experience in licensing for broadcast and digital media to join their Sydney offices and lead a team to achieve set revenue targets for the company.
Skills / Experience Required:
- At least five years experience in a commercial licensing role with a proven record of revenue achievement
- Established strong professional networks / connections with digital media businesses
- Deep understanding of the Australian/NZ music licensing framework and the commercial value of music in digital media
- Demonstrated insight into the rapidly evolving commercial uses of music by digital media organisations
- Strong negotiator, able to secure complex commercial deals
- Sound commercial and financial skills and an appreciation of governance issues
- Demonstrated ability to think and act strategically in the development and implementation of innovative best practice initiatives within a complex business environment
- Excellent people management and adaptive leadership skills with a proven record in establishing a successful team-based work environment that enables people to develop their full potential and to do well
- Excellent communications skills. Able to listen sensitively to the views of others and to communicate effectively to both internal and external stakeholders
- Personable, persuasive, with the capability to credibly represent APRA AMCOS and build strong, long-term relationships with stakeholders
Tasks / Responsibilities Include:
- Maximising revenue and revenue opportunities
- Working with other Director Media Licensing and relevant managers to develop new or replacement licence schemes and a national media licensing strategy
- Monitoring licensing, and initiating corrective action where necessary
- Developing budgets, and regularly reporting actual performance to budget, with variance analyses and revised projections
- Gathering market intelligence covering new developments in digital media products and services and sales strategies
- Delivering high quality services to clients and members including by ensuring the department adheres to relevant policies and legislation (e.g. Code of Conduct and Privacy)
- Leading and developing a focused, collegiate, high performing team
- Creating, developing and maintaining strong business relationships with digital media clients
- Achieving continuous improvement in the performance of the Media Licensing Department
For all the job details and to get your application in, head over to APRA AMCOS’s Seek.
Office Assistant – Warner Music Australia (Sydney)
You know them, you love them – now, you can join them! Warner Music Australia is currently accepting applications for the position of Office Assistant in Sydney, which could prove to be a mean gateway gig for anyone seeking a longterm career in the music industry. Interested? Read on…
Skills / Experience Required:
- A positive, confident and happy demeanour
- A love for administration, organisation and assisting people
- Professional phone manner and appearance
- Strong interpersonal skills, including the ability to deal with all levels of people in a professional and helpful manner
- Have respect for confidentiality and have discretion and tact with sensitive information
- Exceptional time management skills with the ability to determine priorities within a fast-paced day
- Proactive with strong attention to detail
- Ability to remain calm
- Ability to deal with changing requirements and prioritise effectively
- Ability to work autonomously as well as in a team when required
Tasks / Responsibilities Include:
- Greeting all guests and assisting with sign-in procedures
- Management of the reception area to ensure it is kept clean and tidy at all times
- Answering phones
- Purchase of kitchen supplies
- Management of mail & courier deliveries
- Regular cleaning of kitchen as well as monitoring all other areas of the office
- Stock take and ordering of all office supplies
- Arrange catering and manage set up of meetings and on-site events
- Updating internal phone list & seating chart documentation
- Assisting with mail-outs, including merchandise
Interested? Send off your application here.
Store Manager/Department Manager – Billy Hyde Music Adelaide (Adelaide)
Heads up, Adelaide! Billy Hyde Music are expanding their operations into South Australia in 2021, and they’re in need of some talent to kick off the team and establish themselves as a force to be reckoned with in the Adelaide music retail scene.
At present, Billy Hyde Music Adelaide isn’t hiring other staff or casual team members, but if you’re extra keen, get your application in!
For more details and to apply, head to Billy Hyde Music’s employment hub today.
Senior Publicist – Beehive PR (Work from home)
Handling accounts for the likes of The VANNS, Psychedelic Porn Crumpets, Kingswood and more, Beehive PR sit at the core of the Australian music industry. They’re currently on the hunt to find an experienced PR gun to join their team from the confines of their own home office – nice!
Skills / Experience Required:
- Two or more years experience working in Australian music PR
- Creatively focused with a dedication and passion for music
- A team player who is also capable of working autonomously with clear direction and initiative
Tasks / Responsibilities Include:
- Creating and executing individual campaign strategies for multiple clients at a time
- Liaising with clients on assets and content creation
- DSP, Editorial and Radio servicing
- Press release distribution across client campaigns
- Copywriting and office admin duties as required
- Weekly meetings with Beehive PR’s director with regards to in-progress campaigns
- Liaising with national media outlets, radio programmers and TV contacts throughout campaigns in securing premieres and various pieces of content for the client
- Delivering campaign reports and weekly updates, as well as feedback from outlets to the client
Head on over to Pedestrian’s careers platform to shoot your shot today.
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Holy Holy share new single, announce East Coast tour
Acclaimed Aussie duo Holy Holy have returned with a brand new single and details of an East Coast tour, set to go down in January and February of next year.
Inspired by an essay about pandemics penned by Arundhati Roy, ‘Port Rd’, sees Oscar Dawson and Tim Carrol team up with Melbourne rapper Queen P for an immersive, surging cut unlike anything else in the Holy Holy back catalogue.
‘Port Rd’ also features contributions from Japanese Wallpaper on keys and drum session king Jackson McRae, and comes with a new video pieced together from footage captured by fans of the group over lockdown. Watch it below.
To coincide with the new single, Holy Holy are hitting the road for a limited capacity COVIDSafe shows at the tail end of summer, with tickets going on sale tomorrow at 11am. Find all the dates and details below.
Holy Holy Port Rd Tour
Saturday 23 January | The Factory, Sydney NSW (late)
Friday 12 February | Forum, Melbourne VIC (early)
Friday 12 February | Forum, Melbourne VIC (late)
Saturday 27 February | The Tivoli, Brisbane QLD (early)
Saturday 27 February | The Tivoli, Brisbane QLD (late)
Grab your tickets for the Port Rd tour via the Holy Holy website.
Boss team up with Sola Sound to reveal the Waza Craft Tone Bender MKII Fuzz
Following weeks of social media hype and mystery, Boss have revealed the latest entry into their esteemed Waza Craft pedal range: an unexpected, but incredibly welcome, recreation of the the Sola Sounds Tone Bender MKII.
Deemed by many to be the fuzz box that started it all, the Tone Bender was initially released in 1965, with Sola Sound releasing the upgraded MKII variant in 1966.
With its two transistor circuit providing raucous tones and a bulky sand cast metal enclosure ensuring it could withstand the rigours of live use, the Tone Bender was a hit among many of the UK’s biggest guitarists of the era, including Eric Clapton, Jeff Beck, Jimmy Page and Syd Barrett.
Now, Boss seek to revive the legendary tones of the pedal in a classic compact Boss stompbox format, working alongside Sola Sound to deliver a point-to-point recreation of the original Tone Bender circuit.
The TB-2W features authentic germanium transistors for that classic velcro snarl, with a simple control layout for Level and Attack allowing for simple tone sculpting. There’s also a selectable true or buffered bypass function, as well as a three way voltage selector switch to flick between 7v, 9v and 12v – a perfect tool for players seeking a little extra headroom or to squeeze their fuzz tone to make it sound even more obnoxious.
While there’s no demos of the unit just yet, Boss have confirmed that the TB-2W will arrive in Q2 of 2021, with the pedal also being made in strictly limited capacities due to the scarcity of components used in its production.
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Find out more about the Waza Craft TB-2W Tone Bender over at Boss Australia today.
Melbourne Music Week unveil massive lineup for 2020/21 event
Melbourne Music Week will take on a different role and identity across its three-month lifespan in 2020/21, serving as an industry kickstart for a live music scene only just emerging from an extended hibernation.
The festival, to be reconceived as Melbourne Music Week-Extended for its 11th instalment, will commence on Wednesday December 9 and run until Sunday February 28, welcoming a huge bill of local artists to perform at the city’s most beloved live music venues.
With another wave of artists and gigs to be revealed in January, Melbourne Music Week-Extended has just lifted the lid on the program up until that point – and it’s huge.
Kicking off with Wominjeka (MMW Welcome) on Opening Night (Wednesday December 9), Kee’ahn will curate a Welcome to Country and city-wide Smoking Ceremony, including a performance from Aboriginal dance group Dijirri Dijirri, across four yet-to-be-announced city locations. There will be a show at Section 8 to follow.
Also occurring on Opening Night is the Music Victoria Awards at Melbourne Recital Centre that will feature a sweet local bill including the likes of Rolling Blackouts Coastal Fever performing off the back of their stellar 2020 album, Sideways to New Italy, much-loved singer-songwriter Alice Skye, the inimitable Elizabeth, as well as Simona Castricum, who herself released the fantastic Panic/Desire earlier this year.
Outside of that, Magic Dirt’s Adalita will perform a special show on the Melbourne Town Hall’s Grand Organ, while Baker Boy appears for a headline set at Melbourne Recital Centre. Revered producers Ara Koufax will present an audio visual exploration as part of Melbourne Music Week-Extended while seminal DJ and academic Simona Castricum gears herself up for a show at the Capitol Theatre.
On top of that, The Forum will make their return to the live music space when they welcome Cable Ties to the stage. Melbourne metal stalwarts High Tension will appear at Max Watt’s, a venue that will also be represented as part of Melbourne Music Week’s Venue Presents gig series.
Alongside Max Watt’s and as part of Venue Presents, the likes of Colour Club, Cherry Bar, The Curtin and Section 8 will present an ongoing run of shows featuring some big names such as Blake Scott, Banoffee, Mick Harvey, Private Function and Allysha Joy across the three-month festival.
Melbourne Music Week-Extended have also prepared a number of outdoor events with which North Melbourne venue The Third Day will host the first. On Saturday December 12, The Operatives present WE ARE 16 – an all-day party set to feature sets from Jordan Dennis, FOURA and more.
There will also be a number of variety events set to go down as part of Melbourne Music Week-Extended, including Techno Bingo featuring a guest appearance from The Huxleys, a Vogue dance workshop presented by Kiki Dévine, as well as a wellbeing series including a Dog Day Afternoon with Henry Wagons.
The Melbourne Music Week Hub will take a back seat in 2020/21 as the focus shifts to supporting the Melbourne live music and cultural venues that have endured the worst of the COVID-19 pandemic. The larger, longer and more expansive three-month program has been conceived to offer greater flexibility for local artists, venues and businesses to be involved.
Head to the Melbourne Music Week-Extended website for tickets and to check out the full festival program.
This story originally appeared on Beat Magazine.