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BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

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BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

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BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

Welcome to the 2019
Melbourne Guitar Show
BY LEXI HERBERT
Melbourne is a city with a lot of signature things: the Nylex sign, Merri Creek, the AFL grand final and
the Lilydale train line. If you’re a six-string enthusiast, however, chances are the Melbourne Guitar Show
is close to the top of your fave Melbourne institutions. This year’s MGS program is better than ever,
offering a timetable of events drowning in so much talent that you should probably BYO life jacket. It
can be intimidating when everything on the two-day calendar is a winner, so we’ve done you a solid and
narrowed down Beat’s top eight picks for this year’s Melbourne Guitar Show. Check them out below.
James Norbert Ivanyi
SARAH MCLEOD
ELLA BELFANTI
ASH GRUNWALD
TONE DESIGN FOR PROG METAL GUITAR
McLeod is arguably best known for fronting
Definitely one of the younger artists to pop
Grunwald is a seasoned veteran of the Aussie
In this workshop, James Norbert Ivanyi will
the ARIA Award-winning Aussie rock group
up on this year’s MGS calendar, Belfanti is a
music industry, having released eight studio
take you through the proper dial settings for
The Superjesus. Following the band’s initial
20-year-old vocalist and guitarist. She hails
albums over his 18-year career. A locally-raised
prog metal textures, spanning all the way
split in 2004, McLeod embarked on a solo
from the Gold Coast and takes inspiration
legend, Grunwald’s music is constrained to no
from a rhythm setting to a lead setting. Ivanyi
career for the history books. McLeod’s solo
from artists such as The Cat Empire, The
single subculture or genre. His aim is to simply
is one of Sydney’s most treasured multi-
career has continued her shredding legacy,
Superjesus and Florence + The Machine. It’s
represent the inhabitants of Earth, while asking
instrumentalists, having self-released three
joining groove with soul and pop with hard
hard to go wrong with those influences and
for protection of its natural wonders. Most
instrumental albums since his solo debut
rock techniques. Her latest album, Rocky’s
Belfanti definitely hasn’t. Her percussive style
notably, his appreciation of the American soul
in 2013. Of all the people to show you how
Diner, came out in 2017, so be sure to catch a
of guitar playing has captured the eye of critics
and blues scene is palpable (his first recorded
to design your tone correctly, Ivanyi – with
mix of new and old, electric and acoustic, on
around the country and will definitely capture
song was a cover of Howlin’ Wolf’s ‘Going
his modern metal meets 1970s prog rock
the Marsh Whammy Bar stage on Saturday
you too. So head down to the Exclusively
Down Slow’). It’s all well and good to describe
style – is the man for the job. Check out this
August 3.
Acoustic Stage on Saturday August 3 to
it in words, but this is one event you really
workshop in the Winners Circle Workshop
watch this young gun in action.
should see with your own two eyes, so catch
Room at 11.30am on Sunday August 4.
Grunwald on the Marsh Mezzanine Stage on
Saturday August 3.
Nick Charles
TRIPLE M JAM
MINNIE MARKS
THE WORLD OF ACOUSTIC GUITAR
KEITH MERROW CLINIC
Undeniably the crowning jewel of the
Minnie Marks has been described by the
When you think of the quintessential guitar
One of this year’s biggest international
Melbourne Guitar Show every year, the Triple
show’s organisers as “an insane talent”.
image, chances are something akin to a
names, Keith Merrow is bringing his playing,
M jam should not be missed. The biggest
Playing two separate sets this year, Marks
classic country-style acoustic comes to mind.
songwriting, producing, engineering, demon-
names on the roster meet with newcomers
will churn through some out-of-control riffs
This show will take you on a journey through
strating and teaching skills to the MGS,
and something beautiful is born: a jam session
that she titles, “dirty sweet rock’n’roll”. Marks
culture and time via the diverse stylings of
courtesy of Schecter Guitars. Having honed
for the ages. How many guitarists is too many
is renowned internationally for her singer-
Nick Charles, Lloyd Spiegel, Van Larkins and
his six-string skills playing technical and
on one stage? Trick question, the limit does
songwriter and multi-instrumentalist prowess,
more. Join this exploration on the Marsh
modern heavy metal tunes, Merrow will
not exist. This year’s jam is held on Sunday
so it’s a real gift to have her showcasing her
Mezzanine Stage at 1.40pm on Sunday
be hosting a clinic in the Winners Circle
August 4 at the Marsh Whammy Bar stage.
talents at the MGS in 2019. Be sure to catch
August 4.
Workshop Room, showing punters how to
Pop by because you never know who might
her on the Exclusively Acoustic Stage at
get the most out of their Schecters. Head over
end up on stage.
1.30pm on Sunday August 4.
at 1.30pm on Saturday August 3 to see how
it’s done.
BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

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Dennis Jones
Avid blues-rocker Dennis Jones has been on a
tear lately, just completing a string of dates across
Canada and the United States. With six albums
and a live DVD under his belt, it seems like
nothing can stand in his way.
BY EDDY LIM
Oddly enough, the electric guitar wasn’t
toes were practically at the edge of the stage.
Jones’ first instrument of choice. While
A lot of guys who played R&B were always in
growing up in the small country town of
the background behind a singer, and that’s
Monkton, Maryland, Jones always yearned to
never where I wanted to be.”
and searing hot solos. But it wasn’t until his
“I just told my girl lately that we’re really
master the drum kit.
“Yeah, I always wanted to be a drummer,
Shortly after finishing high school, Jones
enlisted in the military to see the world for
eventual return to the United States and a
fateful opportunity that Jones was able to
happy. I need some sadness in my life,” he
laughs. “I’ve never been an alcoholic or drug
but my parents thought they were just too
himself. He further broadened his sonic
pursue music professionally.
addict. I’ve never beat anybody, been beaten
loud,” Jones says. “My second choice was
palette while overseas, including three years
“Around eight years ago I was laid off
or abused, so I’m a horrible blues guy, because
the guitar, and about two years later I had a
stationed in Germany.
from my day job, and I took it as a sign for me
I don’t have any bad stories.”
stack of Marshall amps in the living room. I
“I went to a ton of festivals and concerts
to start playing music full-time,” Jones says.
Jones’ upcoming appearance at the
think my parents started to reconsider the
while I was in Europe,” Jones says. “Rory
“I always knew I was going to do it full-time,
Melbourne Guitar Show will be his first official
drums after that.”
Jones’ passion for the guitar intensified
Gallagher was one of the highlights for sure.
Van Halen, AC/DC, Eric Clapton, Thin Lizzy
there was never any doubt, I just didn’t know
when. I don’t think I’ll ever go back to a day job.
performance Down Under, and the fiery
bluesman is raring to give his best.
when he stumbled upon the music of
– I could go on and on. There were so many
Even if I have to play on a street corner with a
“I’ve got a really good feeling about the
Carlos Santana, Jimi Hendrix and the
incredible artists I saw at that young age of 18
bucket out, I’ll do that instead of punching the
upcoming show, and I’d also love to come
Rolling Stones. It was the raucous sound
of rock’n’roll that subsequently led him to
to 21. It was something I’ll never forget. Going
to a real rock concert and seeing people jump
clock again.”
The blues represents much more than
back and play some blues festivals here. We
tour Europe every year, and I want to do the
discover the blues – a fascinating case of
around, that’s something I love – the energy of
a musical genre to Jones. It’s his form of
same with Australia.”
reverse engineering.
“The Stones, Hendrix, Zeppelin, it was all
blues from the start, they just added their own
vibe to it,” says Jones. “I always loved those
guys because they were up in front – their
rock. I try to infuse some of that into my show
and my blues, rather than just being a statue
on stage with a guitar.”
Jones means it, too; the conviction
is palpable in his muscular guitar playing
therapy, articulated in a performance style
that’s brimming with raw emotion. While the
genre developed out of impoverishment and
adversity, Jones cultivates an authentic take on
blues-rock while evading excess melancholy.
Dennis Jones comes to Caulfield
Racecourse for the Melbourne
Guitar Show, performing on
Saturday August 3 on the Marsh
Whammy Bar stage at 3.15pm.
Sarah McLeod
Since launching a solo career in 2004, Sarah
McLeod has amassed an impressive kaleidoscope of
solo material. The best thing about the songwriter’s
diverse output is her disinclination to get bogged
down in any one genre. McLeod tells Beat that her
interest in exploring so many different areas is just a
natural part of her psyche.
BY ANNA ROSE
“I’ve always thought it was a negative about
You’ve got to paint your rainbow with the
Though she doubts her reasons for being
“It will be very inspiring to see what
my career, but I can’t help it,” McLeod says.
“When it comes to me solo, I just throw the
colours you’ve been given.”
McLeod’s canvas has expanded to include
invited, evidently it’s McLeod’s output and
appreciation of all areas of music-making
everybody else is doing,” she says. “Because
it’s like six strings, what are you going to do
book out the window and I just don’t care. I
country music, too. Her first-ever song in the
that mean she will appear and perform at this
with them? Everybody looks at it differently.
just think, ‘what can I do now? What have
genre arrived this month. It’s a style she was
year’s Melbourne Guitar Show.
“I’m always interested in what other
I learnt in the past couple of years that I can
hesitant to be involved with, but she was coaxed
“I thought, ‘I don’t know if I’m the kind of
things I can learn. The past six months I’ve
now funnel into some new music? What
into offering her vocal talents to the single,
player that would be at something like that,’”
taught myself piano. It’s been nothing but
instrument have I learnt? What new thing
have I learnt to do with my voice?’”
What, indeed. McLeod’s extensive solo
‘Hands Of Time’, from Queensland duo Route 33.
“It didn’t sound twangy country to me,”
she says. “I liked it, it was a pretty song. I really
she says. “I fancy myself as more of a singer. I
play guitar to accompany myself singing. I’m
not the kind of guitar player people would
piano, then I was like, ‘Oh, right, better go back
to the guitar, where even is it? Dust that down.’
And I’ve bought myself a [drum] kit, so I’m
discography boasts a little taste of just about
enjoyed the experience.”
watch to shred something. So I thought,
going to teach myself how to be a drummer.”
every subgenre of rock music. From alt-
McLeod had the freedom to add her own
‘What can I do to make the show special?’
That consistent thirst for self-
rock to pop, blues to 1960s folk, McLeod’s
personal flavour, so she can now confidently
That’s when I decided to do an electric show.
improvement and self-discovery means
repertoire is a reflection of her evolving
add a country feather to her cap.
“A bit of acoustic, but most of it is electric
McLeod’s musical projects will keep on
personal journey.
“I like things to be different, I get bored
“I know it’s country genre, but it doesn’t
sound like country to me because no one’s
guitar on one I’ve made. It’s a bit weird, a bit
eclectic, but it works and it’s unique.”
coming. “And they’ll always be different,” she
says. “Just prepare for anything.”
with the same stuff,” she says. “I always
doing any twanging in the vocals. And I think
For a versatile and colourful performer
thought of [that diversity] as a negative. I
confuse myself with it, so I must be confusing
other people, but that’s how it works for me.
that’s my main beef that I’ve always had
with country – I don’t like that twang, I don’t
understand why they do it.”
like McLeod, the Melbourne Guitar Show is
an opportunity to showcase a melting pot of
influences, ideas, and experiences.
Sarah McLeod is performing on
Saturday August 3 on the Marsh
Whammy Bar stage at 12.45pm as
part of the Melbourne Guitar Show.
BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

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BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

FENDER
Tre-Verb, MTG Tube Distortion
and Bubbler Chorus Pedals
BY WILL BREWSTER
It’s an undeniable truth that no manufacturer
has had a greater impact on the development
and discourse of popular music than Fender.
tremolo types – Opto, Bias and Hum – and
three reverbs – ’63, ’65 and Plate – as well as
standard level/tone/rate/depth/dwell/blend
Like many guitarists, I’ve definitely got
a bit of a love/hate relationship with chorus
effects. I firmly stand by the belief that there’s
Possibly due to Bruce Egnater’s brain
being present throughout the design process,
the MTG is one tough sounding, super-
From the 1950s until now, the So-Cal entity
controls. The tremolo circuit of the Tre-Verb
a lot more awful chorus pedals in the world
transparent distortion pedal. As expected
has controlled the zeitgeist with its universally
also boasts a tap-tempo feature which can
than there are great ones, mainly due to
from anything with the Fender name badge, it
appealing product ethos and stranglehold on
be found by holding down the bypass switch,
its prevalence within the realms of cringey
offers a trustworthy tone for wailing blues and
the electric guitar, bass and amplifier markets.
Despite this, there’s always been one sector
where the company just can’t quite seem to
giving you hands-free control over the rate of
the effect when you’re performing.
Fender has a rich history of wiring
radio-rock from the ‘80s and ‘90s. Luckily,
the Bubbler leans a lot further towards being
grouped into the latter category, due in part
crunchy funk-rock stylings, while boosting the
mids and gain knobs sends you soaring into
ballsy hard-rock and metal territory. However,
wedge their products into the minds of the
masses: effects pedals.
However, that all looks set to change with
incredible sounding reverb and tremolo
circuits into its amplifiers, and the Tre-Verb
acts as a testament to this, offering guitarists
to its beautiful sounding Bucket Brigade
circuitry and intuitive controls. The dedicated
Slow/Fast footswitch is an absolute Godsend,
I was a little underwhelmed by the Boost
function, which functions more or less like a
cascading amp due its second master volume
the introduction of Fender’s newest effects
a wide array of sonic possibilities to alter their
allowing for you to bounce between warbling
control. I would have also liked to have been
range: a collection of boutique style, polished
chrome pedals meticulously designed by the
head honchos in the US. The series features
a range of gain, modulation, compression
signal with. The Plate reverb setting offers a
lush modulated texture that pairs impeccably
with the Bias tremolo, while the combination
of ‘63 reverb and Opto tremolo is practically
faux-Leslie tones and a lush ‘80s shimmer
with a simple boot stomp. If you’re chasing
that classic Andy Summers JC-120 analogue
chorus sound or a wonky, warbling Mac
able to use the Boost function independently
without engaging the Distortion circuit, but
hey, you can’t win them all.
Despite its historical tendencies to
and time-based effects pedals, including
surf-rock in a box. The Tre-Verb’s true stereo
DeMarco-esque vibrato, the Bubbler can pull
disappoint with previous entries into the
the Bubbler Chorus, the Tre-Verb Tremolo/
outputs ensure that you get a huge-sounding
off both with absolute ease, and having the
effects pedal market, Fender has done a
Reverb and the MTG Tube Distortion. From
binaural spread if you please, while a handy
option to easily flick between the two is a very,
pretty solid job with this selection from their
the designs and descriptions alone, one
flick-switch at the back allows you to switch
very welcome touch.
newest range. With looks to kill and tones to
can assume that Fender is aiming for the
the signal path of the tremolo and reverb
Finally, we’ve got the Fender MTG Tube
match, the Tre-Verb, Bubbler and MTG are all
big leagues, with each of the above bearing
circuits to suit your own preferences. If you
Distortion, designed in conjunction with
incredibly well-designed and great sounding
similarities to other heavy-hitting brands in
dig cavernous chords, ambient plucking and
esteemed amplifier guru Bruce Egnater.
effects units that will definitely demand the
the effects market. While aesthetic and sonic
semblance to a competitor’s product isn’t
always a bad thing, it does go to show that
washy, modulated sound effects, the Tre-Verb’s
definitely got a place on your pedalboard.
There are very few things in life that
As its name suggests, the MTG utilises an
actual new-old stock US-made militarygrade
6205 preamp tube, so instead of
attention of tone-hounds. However, with their
boutique price point and stiff competition
from pre-established and popular names
Fender isn’t exactly aiming to reinvent the
sound as warm and gooey as a good analogue
emulating the glorious sound of valve break-
within the pedal sector, it’ll be interesting to
wheel (or the chorus pedal for that matter)
chorus, and Fender is tapping into this
up, you’re getting the real deal. With a three
see just how these new units are received by
here: rather, it’s just making really good quality
effects units to their pre-existing target market.
For example, take the Fender Tre-Verb.
It’s blatantly obvious that Fender is choosing
to go head-to-head with Strymon’s Flint, an
incredibly similar Tremolo/Reverb combination
phenom with the Bubbler Chorus. Combining
vintage-sounding modulation with thoughtful
modern touches, such as the ability to switch
between Triangle and Sine waveforms and a
dynamic Sensitivity control that interacts with
your picking response, the Bubbler is by far
band EQ, Level, Gain and Tight controls and
a switchable Boost feature with independent
Level and Gain knobs, you’re spoilt for choice
in the tone department here. I also really dug
the fact that Fender has used an actual Fender
amp Jewel LED to indicate the engagement
the masses – I guess time will tell.
Fender Music Australia
fender.com.au
RRP: Tre-Verb - $469, MTG - $399,
Bubbler - $299
which has won the hearts of many a guitarist
one of the most feature packed chorus pedals
of the effect – sometimes, it’s the little things
in recent years. This unit features three
I’ve come across.
that mean the most.
BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

MERIS
Hedra 3-Voice
Pitch Shifter
BY WILL BREWSTER
Some companies build stompboxes; and then
the Hedra even has four built-in delay settings
there’s Meris. Despite debuting a mere two
with a tap-tempo footswitch to control the
years ago, the Californian cohort have already
rate of the effect. Honestly, it’s probably as
made quite the splash in the pedal pond,
overwhelming as a pedal can get; but with
with early products such as the Polymoon,
Meris, that’s almost the point.
pedal – without apt theoretic knowledge
almost more akin to a powerful synth engine
Mercury 7 and last year’s Enzo multi-voice
With three independent pitch controls,
and understanding of harmony, the Hedra
you control with a guitar. Pair it with your own
guitar synthesiser establishing themselves as
a key knob, microtuning capabilities and a
might simply have you scratching your head
reverb, modulation or volume pedal, and the
a force to be reckoned with in the industry.
mix knob, utilising the Hedra on its surface
wondering why you’ve just blown your pay
Hedra absolutely sings; even the simplest of
Meris are undeniably revolutionising the way
level is relatively straightforward. The pitch
cheque on this fancy piece of kit. After you wrap
volume swells will blossom into cascading
players consider exactly what constitutes a
controls allow you to select the intervals of
your head around the harmoniser element of
symphonies that will almost certainly leave a
guitar pedal.
each voice, allowing you to stack three pitch-
Meris’ new pride and joy, you’ve then got to
tear rolling down your cheek.
The Hedra, a powerful and dynamic
shifted layers atop of your dry signal. For
tackle the rhythmic element of the Hedra.
As well as offering even more nuanced
triple-voiced rhythmic pitch shifter, aims to
those looking to dial in an orchestral, wailing
Engaging the delay mode and experimenting
tweakability by plugging in an expression
bend this perception of ‘pedal’ even further.
lead tone reminiscent of Queen’s Brian May
with the tap tempo and different modes
pedal, the Hedra can also be used to control
Named after the fearsome many-headed
or even Ratatat, this is where the money is,
makes these sounds all the more wacky,
MIDI keyboards in real time and, for those who
serpent from the Herculean Greek myth, the
while dialing the microtune knob will add in
woolly and at times unpredictable, but never
care, the Hedra sounds absolutely fat when
Hedra essentially replicates esteemed studio
a touch of detuned, warbling modulation. The
uninteresting. Alt-pressing and turning each
paired with a synthesiser for mono-synth lines
rack units like the Eventide Ultra-Harmonizer,
Hedra also serves up drop-tuned -/+2 octave
pitch knob also gives you control over the
that really matter. I’ve honestly never been so
delivering three voices of mind-melting,
Whammy style tones with ease, offering a
independent delay time of each pitch voicing,
flummoxed by an effects pedal, and while I
pitch-shifted tones as well as incredible
suitable platform to lay down beefy detuned
stacking up the crazy factor even further. This
can’t picture it on many pedalboards in the
MIDI functionality and external control via an
riffs or wild Tom Morello inspired octave leaps
function delivers astonishing sonic results
gigging circuit anytime soon, it’s certainly
expression pedal. It’s a serious pedal (with a
for more experimental players.
when you deep dive into it, and after some
worth spending some time with.
serious pricetag to match) that should almost
Exploring the alt-function of each knob
knob tweaking, you’ll be creating cascading
be considered more as a studio tool than
a mainstay in your gig rig, but it’s portable
and rugged enough to sit pretty on your
and button also unlocks seven scale setting
presets, letting you leap up and down the
Lydian with ease if you so please. However, it’s
delay runs and jagged synth-like sequences in
no time. Once you discover the glide function
– yep, that’s a thing – you’ll begin to stop
Studio Connections
studioconnections.com.au
Expect to pay: $475
pedalboard should you wish. On top of all this,
worth noting that the Hedra is not a layman’s
looking at the Hedra as a pitch-shifter, and
ERNIE BALL
Primo, Mega
and Mammoth
Slinky Strings
BY NICHOLAS SIMONSEN
Since the 1960s, Ernie Ball has been
gauges? Of course, we do! In my 20+ years
producing some of the world’s finest guitar
of playing, I have met so many players who
strings, which have been used by almost
have pieced together their own weird and
every legendary player to ever hit the stage.
wonderful sets together to suit their style of
Legends like Eric Clapton, Slash, Keith
playing. With the introduction of these new
Richards, Kirk Hammett, Jimmy Page, John
gauges, those days will soon be forgotten.
way too heavy for a standard scale guitar and
You might have noticed by now that I
Mayer and John Petrucci, amongst countless
The Primo and Mega sets are the perfect
I am so damn tired of buying a seven-string
haven’t mentioned how they sound, and to be
others, all choose Ernie Ball Slinkys when it
comes to stringing up their guitar of choice.
After decades of the staple Slinky gauges
being sold worldwide, Ernie Ball has recently
made a huge effort in expanding its string
range to accommodate players with weirder
taste when it comes to particular string
gauges. After the introduction of the Ultra and
Burly Slinkys earlier in the year, the brand has
expanded the line even further with the Primo,
Mega and Mammoth Slinkys, ensuring every
corner of the string market is covered and
then some. Let’s dive in!
I know what you’re thinking: Do we really
need more variety when it comes to string
middle ground for players who are used to
playing a standard 9-42 or 10-46 set but want
slightly more tension without having to step
up an entire gauge or go to a weird hybrid set.
Both sets sit comfortably in standard tuning
and provide incredibly balanced tension
along all strings. While not too dissimilar from
the Regular and Super Slinky sets, I’m sure
some players will enjoy having another option
to their regular set with a bit more beef in the
strings.
I’ve been dying for Ernie Ball to do a set
like the Mammoth Slinky for years and I was
over the moon when they finally announced
it. The Baritone Slinky set has always been
set only to remove the high E (I have so many
loose 10’ gauge strings in my house). The
Mammoth Slinky is a 12-62 set with a wound
G, making it perfect for those wanting to tune
down to C Standard, B Standard or Drop
A with optimal tension. I popped the set on
my trusty Music Man StingRay and tuned it
to Drop A for my favourite Thrice impression
and it was absolutely spot on. The 62-gauge
low E is perfect for heavy handed players like
me who often hear string warble when riffing
away or recording. Those days are gone now
and if you listen closely, you can actually hear
the sound of low tuned riff lords celebrating
around the world.
honest I don’t really need to because they’re
Slinkys and you know exactly how they sound.
The age-old nickel-plated steel wire wrapped
around steel core wire hasn’t changed and
that’s just fine. The classic bright, punchy and
clear Slinky tone you know and love is there;
it’s just now available in in a wider variety of
gauges for players of all styles and tastes.
CMC Music
cmcmusic.com.au
Expect To Pay: From $17.95
BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

OPEN UP AUSTRALIAN MUSIC
Discover and explore the stories
and big moments of Australian
contemporary music.
Showcasing the best of Australian music history, see rare
music memorabilia up close at the Australian Music Vault
exhibition, now showing:
Epiphone Les Paul guitar used by Tash Sultana
Fender Jazz Bass guitar used by Daddy Cool’s Wayne Duncan
Fender Jaguar guitar used by Rowland S. Howard
Everyone’s welcome.
No backstage pass required.
FREE
MAJOR PARTNERS OFFICIAL PARTNERS SUPPORTING PARTNERS MEDIA PARTNERS
Epiphone Les Paul guitar and case used by Tash Sultana.
Kindly lent by Tash Sultana.
MAJOR PARTNERS OFFICIAL PARTNERS SUPPORTING PARTNERS MEDIA PARTNERS
AUSTRALIANMUSICVAULT.COM.AU
ARTS CENTRE MELBOURNE | 100 ST KILDA ROAD MELBOURNE
BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

NCAT Instrument Making
Tanglewood
What is NCAT?
The Northern College of the Arts & Technology offers specialist, hands-on education in all
areas of arts and technology. The college’s Musical Instrument Making and Repair curriculum
is the only qualification of its kind in Australia, covering both traditional and emerging
digital technologies. Opportunities are available in the guitar industry, practicing repair or
instrument set up, manufacture and design. Programs offer both traditional woodcraft and
high-volume manufacture techniques.
Do prospective students need prior skills or certificates?
We cover all the necessary skills from the starting point. This not only happens in woodcraft,
but also in instrument repair, setup, business, drawing, design and 3D modelling skills. As
with all hands on skills, the more prior ability students have, the easier they’ll find it.
What skills can students hope to acquire?
Students begin by completing an extensive OH&S program. Across the year, students learn
to make a bolt-on electric guitar, a dreadnought-style acoustic guitar, and design a custommade
instrument of their choice. Students also learn to complete perspective drawings,
isometric and concept drawings and use their skills to develop a product range. They also
learn to generate computer-aided drawings and create custom templates and jigs, and
develop custom logos and inlays for their instruments. In the repair and setup class, all of
the classic models are investigated, and tips given on improving the playability and sound
quality of their instruments. We look at timber repair methods, sanding techniques, paint and
finishing methods, acoustics and sound transfer. The course also covers the development
of a business plan.
Tell us a bit about Tanglewood’s history.
Tanglewood Guitar Company was established in England in the latter part of the 20th
century. Charged with an ambition to create a portfolio of instruments offering exceptional
value and playability, Tanglewood utilised innovative design and both traditional and
contemporary manufacturing procedures in order to achieve this goal.
What makes Tanglewood stand out in the acoustic guitar world?
Tanglewood has an excellent range of different types of timber resulting in some beautiful
guitars. They have gloss and satin finishes in cedar, koa, spruce, mahogany, mango, spalt
maple and many others.
What model would you suggest to someone who hasn’t played the brand before and why?
The entry level Crossroads is an amazing guitar at an extremely reasonable price. It has a
vintage 1930s look with a sound that belies its price at $249 for an acoustic and $349 for
an acoustic/electric.
What makes the perfect acoustic guitar, in your opinion?
Tanglewood’s strength lies in its range of guitars from $249 to $1500. The perfect guitar
has all the goodies like solid top, solid back and sides, Grover machine heads, Elixir strings,
bone saddles, etc.
What can we expect to see at the Melbourne Guitar Show?
Tanglewood will display a full range of guitars from $249 to $1499. We will have
dreadnoughts, superfolks, travellers, orchestras and banjos showcasing the wide variety
of exotic woods that Tanglewood has on offer. We will also be showcasing the USA-made
Franklin Straps, an elite selection of our new Kremona classical guitar range, and of course
the best guitar strings in the world, Elixir.
NCAT is exhibiting on the mezzanine level at Melbourne Guitar Show.
Visit ncat.vic.edu.au for more details.
Tanglewood is exhibiting on the mezzanine level throughout the Melbourne Guitar Show.
Visit tanglewoodguitars.com.au for more details.
The Rock Academy
FREE!
MADE BY MUSICIANS FOR MUSICIANS
#303 – JULY 2019
PAGE HEADER
The Rock Academy began in 2015 with 15 aspiring teenage musos. What was the initial
idea behind the academy?
Rock Academy was developed to help a network of like-minded teenage musicians
understand what it takes to collaborate in a band and develop their songwriting and
performance skills, all under the guidance of professional touring musicians led by
Phil Ceberano.
For a teenager who’s interested in playing music but doesn’t know where to start, what
advice would you give them?
Sign up and participate in Rock Academy. Play music with other people, listen to lots of
different styles of music, go to live shows – there are plenty of all age/underage shows on
around Melbourne presented by the Push or at venues like Wrangler Studios.
What skills can musicians hope to acquire from the academy?
The mentors pass on things they’ve learnt through years, if not decades, of touring,
recording, songwriting and performing that aren’t included in any curriculum. They’ll get
insights into professional musicianship, tone, and technical skills, and the key being the ability
to collaborate with other musicians.
What’s the next step for the emerging musicians who thoroughly enjoy their time in the
academy?
It’s up to the individual and how they see music as part of their future. Many of the Rock
Academy alumni are currently studying music performance, songwriting and music
business courses. Others are studying different subjects while maintaining their passion for
music through performance and songwriting. Rock Academy has also been a great creative
hub and meeting ground for participants who have gone on to form bands.
INTERVIEWS —
August Burns Red, Sarah McLeod,
Tropical Fuck Storm + more
mixdownmag.com.au
REVIEWED —
EarthQuaker Plumes, Framus Panthera II,
NUX MG-20, TC Electronic June 60 Pedal,
Giveaway!
THY ART IS MURDER
HUMAN TARGET VINYL
ERNIE BALL SLINKY
STRINGS GIVEAWAY
Ernie Ball Music Man Majesty, Meris
Hedra, Voodoo Lab Dingbat, Anasounds
Element Reverb + many more
Plumes
Small Signal Shredder
Available worldwide 3 August
earthquakerdevices.com
ISSUE #303 OUT NOW
1
The Rock Academy is exhibiting on Electric Floor-Ground Level during the Melbourne
Guitar Show. See therockacademy.com.au for more details.
BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

The50s
Stratocaster ®
in Seafoam Green.
Player: Christone “Kingfish” Ingram
THE VINTERA SERIES
VINTAGE STYLE FOR THE MODERN ERA.
TRY THE NEW VINTERA SERIES FOR YOURSELF
MELBOURNE GUITAR SHOW, AUG 3 & 4, ON THE FENDER BOOTH.
©2019 Fender Musical Instruments Corporation. FENDER, FENDER in script, STRATOCASTER and the distinctive headstock commonly found on Fender guitars and basses are trademarks of FMIC.
Registered in the U.S. and foreign countries. VINTERA is a trademark of FMIC. All rights reserved.
VINTERA_50S_SINGLE.indd 1
©2018 FMIC. FENDER®; STRATOCASTER®; STRAT® AND THE DISTINCTIVE HEAD STOCK SHAPE OF THE STRATOCASTER® ARE THE REGISTERED TRADEMARKS OFFENDER MUSIC AUSTRALIA PTY LTD [ABN 34 613 081 191]. ONLY FENDER MUSIC AUSTRALIA CAN AUTHORISE THESE TRADE MARKS FOR AUSTRALIA.
5/29/19 3:24 PM
BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

TC ELECTRONIC
Brainwaves
Pitch Shifter
BY EDDY LIM
Like all of its TC Electronic counterparts, the
up a dynamic LED depending on how much
Brainwaves Pitch Shifter is solidly built. The
force is applied.
controls onboard consist of an FX selector,
Detune (or chorus) is the most familiar
a wet/dry mix control, and two knobs that
out of the selections. The effect simply alters
separately govern each voicing. A pair of
the incoming pitch by a few cents, adding
metal toggle switches allow the user to
a pseudo double tracked sound to your
select which direction the steps are shifted:
instrument. Lush, haunting notes and ghostly
up or down. Pop the back cover off and you
even have dipswitch options for switching
between true/buffered bypass and kill-dry
activation. Furthermore, the Brainwaves
allows both mono/stereo input and output,
making it an incredibly versatile option in any
player’s rig.
This pedal’s core functionality allows
dual voiced pitch shifting in a variety of steps,
which can be operated independently if
desired. These steps range from unison, two
semitones, to an impressive two octaves. Apart
from clear-cut pitch shifting, the Brainwaves
dips its toes into a variety of other soundsplicing
categories: detune, wham(my), a
switchable voice one/voice two mode, and
three modifiable custom TonePrints. Different
parameters of each mode can then be further
altered with the pedal’s innovative MASH
pressure-sensitive footswitch, which lights
lines are easily attained simply by adding a
splash of reverb and/or delay.
The MASH footswitch couples superbly
with the wham setting. Notes gradually bend
to your pitch selection relative to the pressure
you place on the footswitch. The ceiling for
creativity is infinitely high here, especially
when setting one voice to shift upwards,
and the other down. Dextrous footwork is
absolutely required when operating the
MASH footswitch, but it’s difficult to protest
when the learning process is so incredibly
entertaining.
The interchangeable voice one/voice
two and pitch shifter modes are fairly selfexplanatory.
After setting voice one and two,
depressing the MASH footswitch allows
players to instantly swap between the two
selections – super handy if the voices are set
to different octaves entirely.
Last but not least is the pitch shifter
mode. What impressed me the most about
the Brainwaves was its note-tracking.
TC Electronic are to be commended for
their studio-quality algorithms, resulting in
effortless pitch shifting with incredible tonal
accuracy. A large number of pitch shifters tend
to stumble or muddy up when playing chords
or adding gain, but the Brainwaves handled
whatever situation I threw at it admirably.
While some garble was understandably
produced on the +/- 2 octave extremities,
the note transpositions for the remaining step
options were absolutely phenomenal.
As with most of TC Electronic’s latest
pedals, the included micro USB cable
allows you to connect the Brainwaves to
your computer to set up custom TonePrints.
Using the free TonePrint app, users are able
to push famous players’ custom parameters
to their pedal, or even design their own from
scratch. Can’t be bothered connecting to a
computer? No worries; download the app on
your smartphone, select a custom TonePrint,
then – and I kid you not – you can beam
it through your guitar’s pickups via phone
speaker to one of the three available slots on
the Brainwaves. Is it magic, science, or sheer
innovation? I’m leaning towards magic.
With the Brainwaves, you’re getting a
gobsmacking amount of versatility in a cute
little pink footprint. It’s ludicrously easy to
lose yourself in the process of tweaking this
pedal’s controls, let alone designing your
own TonePrint. Add a looper into the mix and
you’re in for endless hours of entertainment.
Amber Technology
ambertechnology.com.au
Expect to pay: $229
EARTHQUAKER DEVICES
Plumes Small
Signal Shredder
BY JOSHUA MARTIN
Ever since Link Wray’s ‘Rumble’ was banned
spirit from the Hoof, and manages to evoke
from several US radio stations, we’ve known
the nasty tones Auerbach relished all those
the power of distortion. Puritan radio
censors in the 1950s thought the harsh
sound “glorified juvenile delinquency.” Over
40 years later, rock is no longer popular
music and guitarists are drowning in an
endless tide of overdrive, distortion and
fuzz pedals.
To move a guitarist out of their slump
with an overdrive pedal is to force them to
rediscover the visceral power of a filthy rock
tone just like Link Wray once did. EarthQuaker
Device’s Plumes Small Signal Shredder could
be the pedal to do that. EQD hail from the
small town of Akron, Ohio in the US and in
case you’re wondering why it sounds familiar,
it’s because it’s also the home of 2000s
blues-rock duo The Black Keys. The band and
the company are inextricably linked, as their
first fuzz pedal was developed in 2006 by the
band’s then-tour manager and sometimestech,
Jamie Stillman; the Hoof Fuzz. It fit
guitarist Dan Auerbach’s raunchy grit tone
perfectly, and rolled into the successful
international company it is today. The Plumes
Small Signal Shredder still derives most of its
years ago.
Inside the box, the pedal is kept in the
kind of drawstring bag you might normally
expect to receive deer milk skincare in, but
don’t be fooled; this is a brawny little unit.
Aesthetically, it’s got a nice balance between
the affectations of a family company and
mass-produced workhorse units like the Big
Muff. A lime green finish is broken up by yellow
targets and “Plumes” in the brand’s goofy font.
It’s as light (approx. 400 grams) and compact
(120mm x 63.5mm x 57.15mm) as you’d want
for a staple pedal that will presumably occupy
a vital functional position on your pedalboard.
It’s powered by a bog standard 9v power
supply with, reasonably enough, no battery
option. The Plumes has the three-pronged
dial setup you, a pedal monster, know is par
for the course; level, tone and gain.
The Plumes Signal Shredder is designed
to be paired with a valve amplifier; frankly, if
you don’t have one, keep fiddling with digital
FX. If you do though, you’re in luck because
the Plumes ingenious circuitry produces a
tone warm enough to wear this accursed
winter. Broadly, it’s a highly transparent sound
with plenty of chime and bite across its
range. A lot of this clarity is attained through
the internal split of the 9v power supply into
+/- 9v. It’s a surprisingly diverse tonal range,
spanning British Invasion style crunch to a
doom metal fuzz.
The three way switch is the conduit to
the three different distortion parameters.
Mode 1 is going to give you a delightfully
choppy Telecaster crunch, particularly if
you’re belting it out of a sizable clean amp.
Turning the tone anti-clockwise, I was able
to dial it back for a muted, muddier sound
that works for something like fusion. Turning
it back and pumping up the gain gave me a
post-punk spike. Behind the specs, this is the
work of symmetrical clipping with a pair of
light emitting diodes. Mode 2 is an undulating
clean boost, which is great for any nasty,
overdriven solos you have. In the circuitry,
the two diodes are switched off so you’re just
getting the core OpAmp drive and its searing
clarity. Mode 3 is what most teenage noodlers
will gravitate toward; it’s a screamer. This is
definitely the Plumes’ pièce de résistance,
with a beautiful saturated tone. Leave the
tone on high to rip out the best rendition of
‘Maggot Brain’ you’ve ever done; pump up
the gain and mute the tone and you’ve got
a bonafide Melvins fuzz. I think the latter was
the most surprising, with the Plumes able
to produce a lot of body. This is enabled by,
similar to EQD’s screamer, an asymmetrical
silicon diode arrangement.
What makes the Plumes an extra nifty
tool is its price point. For younger players, it
could be the bridge to a monstrous distortion
that a cheaper valve amp won’t be able to
achieve all on its own. The all-analogue pedal
tramples any digital alternative for sound. It’s
the sound of Akron, Ohio packed into a pretty
little unit that any guitarist should consider
adding to their arsenal. Try and make distortion
dangerous again.
Yamaha Music Australia
au.yamaha.com
Expect to pay: $189
BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

LINE 6
HX Stomp
BY LEWIS NOKE EDWARDS
It’s time to admit something to ourselves: amplifier modeling is the new reality. This new
wave began in 1998 with Line 6’s kidney-shaped POD. While, realistically, the tones weren’t
especially close to what they claimed to imitate, the convenience of being able to switch
between ‘amps’ and patches, either effected or not, was groundbreaking.
This was superseded by the Fractal Audio
Axe-Fx in the mid-2000s, which then
released the Axe-Fx II in 2011, which became
the industry standard. In the same year,
Kemper released its profiling amplifier, which
allowed users to model their own amplifiers
with startling accuracy. Fractal and Kemper
have been neck and neck ever since, while
Line 6 has slowly released updates of the
POD, such as the POD HD and HD X series.
Unfortunately, Line 6 has remained associated
with the tones and sounds and effects on the
original POD, despite consistently releasing
top-quality products. This all changed in 2015
when it released the Helix and re-entered the
big league. Enter stage left (or left and right;
there’s a stereo output): the HX Stomp.
The HX Stomp is a professional grade
guitar effect and amp processor crammed into
a glossy, sparkled housing about the size of a
small HSP (depending where you go). Packed
inside is the same DSP and HX modeling
technology as found in the larger, pricier Helix
itself. There are three pedal switching pots for
toggling between effects, and five little pots
for scrolling through presets and tweaking
parameters. There are mono/stereo inputs
and outputs, an expression pedal input, MIDI
in/out and a stereo send with a mono/stereo
return. The HX features over 300 amplifier
and cabinet emulations and effects from the
Helix range, as well as ‘legacy’ effects from
their M-Series and stompboxes such as DL4,
FM4 etc. The HX Stomp can double as a USB
audio interface for recording, but only features
a headphone out for this purpose. The HX
includes an admittedly clunky power supply,
but the website suggests the unit can be
alternately powered via pedal power options.
The unit also features a handy master output,
to ensure wherever your output is heading,
it’s receiving a healthy signal regardless of
whatever monstrous crunch and distortion
you’ve crammed into the presets.
Opening the box reveals a pedal that
feels solid and weighty, and looks simple
enough to use. I connected the unit using
the mono output to my recording interface
and powered it up. Alternatively, the HX can
be connected via USB and used as the input
device for your DAW. When powered on, the
HX’s LCD screen is nicely backlit and quickly
opens up to a very user-friendly interface for
tweaking the existing patches or creating
your own. Scrolling through the ‘FX’, I was
hooked, but a little underwhelmed at the amp
tones before I remembered that, as the name
suggests, the HX Stomp is designed to be
used as a stompbox before an amp, so the FX
presets mostly don’t contain amp simulations.
Regardless, the delays are spacious and
inspiring, and the modulation presets are fun
and aptly named. Because of the HX’s ability
to send and return auxiliary effects, you can
create patches with mix blends, sends to
delays that retain tails of reverbs or delays
before they’re modulated, or vice versa.
This can be especially helpful when you’re
recording, because you can get a polished,
finished sound while you record. The mix is
easier because the sounds are finished, and
the performance is better because the sounds
are inspiring.
Finally reaching the ‘DIR’ (direct) tones,
I was floored. Every amp model preset is
usable, true to their namesake and honest in
the sense that they’re not inherently treated
and ‘perfect’ tones. The amp’s hum, sizzle and
squeaks are modeled too. It’s also important
to remember that, like competitors Kemper
and Fractal Audio, these units will never sound
like a real amp in a room (though maybe the
HX Stomp could take the cake through a
powered cabinet or amp). Instead, they’re
designed to produce tones identical to a
mic’d up amp. In addition to tweaking on the
unit itself, Line 6 has specially designed HX
Edit software that, when linked via USB, can
be used to tweak settings on your computer
(editing is mirrored on the HX itself; you
don’t need to tweak and then download your
tones). Not only can you tweak your own
tones and scroll through the library of effects
and amps, but you can download other users’
tones on the Custom Tone exchange, all
for free.
I reviewed another Line 6 product in
July’s issue and had the same problems
navigating the Line 6 websites for drivers and
software. Eventually I located the HX Edit
download, but not without watching tutorials
on external sites from people who have
faced the same issues. After a few YouTube
tutorials, Line 6 forums, Line 6 support etc.,
I located some instructional videos and
managed to download my patches and
upload them to the Customer Tone forum, so
I can use them again when I inevitably buy a
HX Stomp of my own. Because the pots on
the Stomp are very sensitive, I found myself
toggling tap tempo and switching presets
while scrolling through settings. The HX Edit
solves this. The HX Edit software is a much
friendlier interface than the LCD screen on
the HX Stomp itself, and I could see myself
using the software a lot to tweak tones while
recording, jamming, or re-amping.
The HX Stomp is a great all-round
introduction to amplifier modeling at a
great price. Don’t be fooled by its size and
appearance – the Stomp is every bit as
powerful as its larger counterparts, and Line
6 hasn’t skipped out on the quality of the
effects and amplifier modeling either. It’s a
professional grade piece of gear that can hold
its own, but is portable enough to fit in your
backpack. The HX can be used to add effects
to an already great-sounding amplifier sound,
or it can replace your entire rig of pedals, amps,
cabinets and effects, all the while doing it with
more routing options than most pedals and
amps. From seasoned software tweakers to
bedroom guitarists and bass players, the HX
Stomp would be a great addition to anyone’s
collection of gear.
Yamaha Music Australia
au.yamaha.com
Expect to Pay: $999
BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

XOTIC GUITARS
XSC Series Guitar
BY LEWIS NOKE EDWARDS
Xotic is well-known for its pedals,
sticky gloss to hold you back, and it holds up
namely the EP Booster, seen on pedal
better than a matte finish when playing for
boards everywhere. Not so well-known
hours (which you will). The neck is bolted to
are its master-built, heavily relic’d and
the body just above the three Raw Vintage
completely customisable electric guitars.
single coil pickups and the five-way pickup
This Strat-inspired XSC is loaded with
selector. Raw Vintage pickups are hand
triple-threat single coil Raw Vintage
wound in the Los Angeles Xotic shop, and
pickups, a flame roasted maple neck
really deliver their own flavour. There’s
and an asymmetrical neck profile for
something inherently Strat-like about them,
maximum comfort. The XSC series of
but with an edge. Maybe it’s the roasted
guitars are flawlessly designed, expertly
maple fingerboard, maybe it’s the design
built and endlessly inspiring.
Head to toe, this Xotic XSC really is its
of the guitar or the Xotic tremolo bridge
holding it all in place, but there’s a character,
own instrument. With an obvious nod to one
attack and spank the Raw Vintage pickups
of the most famous body shapes in guitar
deliver that I’ve never heard. Every setting
history, it retains its own character, bells and
of the pickups is very usable, something
whistles and relic’d look. The neck’s profile
not all that common with triple single coil
is asymmetrical for maximum comfort. It’s
guitars. There’s usually a throwaway phase
not something you’ll notice immediately,
but the profile, starting from a D-shape on
the bass side and curving around to a C on
the treble, inconspicuously makes this guitar
affected tone, but not here.
Playing the XSC is an absolute pleasure.
Thanks to the neck profile you can really
grab hold of notes and take them for a walk.
This Xotic XSC has all the bells and
whistles that you’ll never notice. The
features and playability are integrated so
assembled guitar. Even while writing this
review the XSC distracted me. Anything
from the XSC series of Xotic Guitars are
comfortable and helps grab hold of solos and
There’s snarky response that feels fresh,
masterfully that they just do their job while
your new ol’ faithful, and will never leave
licks. Initially the neck felt big and round, but
clean and solid (it’s difficult to articulate
you focus on the playing. I didn’t notice
your side as long as you’re playing. Bury
without getting in the way of your playing. It
any other way) something the XSC has no
the asymmetrical neck profile until I read
me with this one.
feels like a machine ready to take on whatever
trouble doing even with delicate notes.
the specs, but I knew the neck felt great.
you’ve got for it, and the flame-roasted finish
is a very welcome addition. The flame roasting
maple process allows for minimum finish on
The guitar makes you want to play, but
doesn’t bog you down in a specific style.
It responds phenomenally well to your
I noted the Raw Vintage pickups sound
like nothing else before reading about
them on the Xotic California website. The
Guitar Brothers
guitar brothers.com.au
Enquire for pricing
the neck itself to seal it, so this is as close to
playing, so it can work for really any style
guitar resonates and responds excellently,
an unfinished neck as you can get. There’s no
while retaining its own character.
pointing to a perfectly balanced, cut and
LINE 6
Relay G10S
Wireless
BY JOSHUA MARTIN
Growing up, wireless guitar seemed like the
symbol and battery indicator symbol
domain of lame arena rock – nothing was
makes it easy to monitor the G10S. You can
worse than seeing Slash or The Edge wander
choose the wireless frequency manually or
down their ego ramp into the fervent crowd.
automatically; this feature makes far more
For me, that changed seeing guitarists like
sense in a larger concert hall, where dozens
Omar Rodriguez-López. Seeing the visceral,
of wireless frequencies are competing
nu-punk abandon with which he whipped his
guitar across the stage offered an appreciation
against one another.
The tiny transmitter boasts eight hours
of the true performative freedom it gave.
playing time before docking easily back into
Most, still, are priced out of the market. Line
the receiver. I did find this battery life varied a
6 is trying to change this prohibitive cost to
little, but it stuck to a six to eight-hour range
offer wireless guitar systems to the fledgling
approximately in between sessions. The
masses with the new Relay G10S.
transmitter goes to sleep after four minutes
Most still envision wireless guitar
without any audio input, which is helpful
systems as a bulky receiver, radio transducer
when you’re noodling late at night and you
clipped to the belt and an unsightly hunk
forget to dock it back. The transmitter fits
What places the G10S firmly ahead of
at its best: taking the allure of a liberating,
of metal in your guitar input; the Relay
snugly in your guitar input, though it might
its Boss WL series competition is its range,
if ephemeral accessory once impossibly
G10S couldn’t be further from it. A rugged
pedalboard mountable metal stompbox
take some jiggling.
Any wireless guitar system must address
beating Boss’ claimed 15 metres by nearly
three times at 40 metres. Unless you really
expensive and putting it within the reach of a
teenage birthday present. The G10S is a high
is your receiver, a simple gadget powered
the perennial sledge of loss in sound quality. I
are The Edge, this is obscenely good for all
performing system with a staggering range
by a 9V power supply or USB. It sports a
expected less from the G10S considering the
stage settings. The G10S even holds signal
that doesn’t require any radiowave know-how,
sleek and simple black paint job, offering
price point, but there was no significant loss,
walking around the house, where I did not
complicated setup or pedalboard real estate.
to go mostly incognito amongst your other
even walking tens of metres away. The digital
have line of sight and was occasionally
stomps. The back has your usual ¼” pedal/
amp out, cable capacitance switch and a
convenient XLR DI output if you’re plugging
sound quality is 24-bit lossless and was largely
faultless; the only time it did get a little lossier
is when I stood directly next to my wireless
playing through multiple walls – not that this
is particularly useful.
What Line 6 is doing with wireless
Yamaha Music Australia
au.yamaha.com
Expect To Pay: $499.99
straight into the desk. A light-up wireless
modem in the hall.
guitar is the democratisation of technology
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BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW

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BEAT’S GUIDE TO THE 2019 MELBOURNE GUITAR SHOW