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MAKE MUSIC DAY EXPANDS IN 2019

Posted in Blog    //    Post Date - December 7, 2018

Make Music Day Australia is set to expand next year with the announcement of a partnership between the Live Music Office and the Australian Music Association to deliver the 2019 program.

Make Music Day is a free celebration of music making around the world, taking place on 21 June. Launched in 1982 in France as the Fête de la Musique, it is now held on the same day in more than 750 cities in 120 countries.
Completely different from a typical music festival, Make Music Day is open to anyone who wants to take part. It’s a DIY Music Festival! Every kind of musician — young and old, amateur and professional, of every musical persuasion — can organise their own gig, or join the many organisations that will host events, to share their music with friends, neighbours, and strangers. All of it is free and open to the public.

The 2018 pilot of Make Music Day Australia was conducted with the funding and resources of the Australian Music Association (AMA), via its partner the NAMM Foundation (US based). The event saw over 100 events in 80 locations register an event on the Make Music Day Australia website.

To expand on the pilot program from 2018, a dedicated role has now been established through a partnership with the AMA under the auspices of APRA AMCOS and the Live Music Office, with the aim to build greater awareness of the initiative.

Australian Music Association Executive Officer Rob Walker said, “The AMA is very proud to be partnering with Live Music Office and APRA AMCOS in building the Make Music Day concept in Australia and creating an event that joins the world in celebrating music making on 21 June.”

“The synergy of purpose between the organisations is striking, and we look forward to engaging many more Australian musicians of all levels in live music in 2019.”
This role will grow these initial partnerships and relationships, increase the number of events from 2018, build on the assets and contacts created, and take the next step in developing this DIY Music Festival concept into one of a truly national interest.

Lucy Joseph of the Live Music Office will be coordinating the local initiative and commented, “Make Music Day is all about allowing communities of audiences and musicians to engage with each other for one day to make free, accessible music and to celebrate the role that music plays in our everyday lives.”

“In 2018 we saw a variety of successful activations across New South Wales, Victoria and Queensland particularly, and we’re thrilled to be working so closely with AMA and NAMM to raise awareness and participation across Australia in 2019.”
The Live Music Office will work with Make Music Day to promote participation, engage with other government agencies and liaise with music industry stakeholders, local councils, venues and organisations promoting the benefits and opportunities surrounding Make Music Day.

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JESSICA LYNN LAUNCHES ROCKIN’ CHRISTMAS SINGLE & VIDEO

Posted in Blog    //    Post Date - December 5, 2018


It’s been another triumphant year for New York-based country music artist Jessica Lynn. Coming off yet another successful European tour, Jessica’s current single “Let’s Don’t’ has reached #41 on the American country charts. Now home for the holidays, Jessica has now released her first-ever Christmas single, “Santa You Can Skip Our House”, accompanied by a fabulously fun video.
“This is a song, not only about being in the Christmas spirit but about being happy and grateful for everything that you have,” says Jessica.

Watch the “Santa You Can Skip Our House” video HERE

Jessica plays a special Christmas show on December 15 at the Paramount Hudson Valley in New York before she heads back to the NAMM Show in January, where she made a home for herself, closing out the Anaheim Hilton NAMM stage.

For more information on Jessica Lynn visit: https://www.jessicalynnmusic.org/

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MELBOURNE SYNTH FESTIVAL: THE HIGHLIGHTS

Posted in Blog, Melbourne Synth Show News    //    Post Date - December 5, 2018

The Melbourne Synth Festival (Nov 23-25, 2018 Meat Market, North Melbourne) is dedicated to all things in the world of synthesisers, DJ equipment and electronic music making. The inaugural show presented a wide array of gear, informative workshops and some wonderful performances.

Thanks to the performers, workshop presenters, the exhibitors and folks that came along to check it out. If you came down, let us know what you thought of the festival … what you liked, what you didn’t and whether you’d like to see something like it again.

Here’s our 2018 highlight reel.

Here are some other Melbourne Synth Festival coverage links:
Day 1 report
Day 2 report
The Gear
The Launch Concert

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BOSS CHRISTMAS GIFT IDEAS FOR GUITARISTS

Posted in Amplifiers, Blog, Gear    //    Post Date - December 4, 2018

It’s the time of year to turn things up to eleven. BOSS has everything you need to make some festive noise, with the Katana range of amplfiers, Loop Station pedals and a range of accessories to show your favourite guitar some love.

KATANA-MINI PORTABLE GUITAR AMP
The Katana-Mini makes serious Katana tone accessible in a small, go-anywhere amp that runs on batteries. Ultra-compact and travel-ready, the Katana-Mini delivers inspiring Katana tone anywhere you want to play.

KATANA-AIR WIRELESS AMP
The Katana-Air gives you the freedom to jam and practice without hassling with guitar cables. And with support for battery operation, there’s no need to plug into AC either, so you can play anywhere!

RC-1 LOOP STATION PEDAL
Experience the fun of looping when you record, playback, overdub, and undo or redo loops using this compact BOSS stompbox.

RC-3 LOOP STATION PEDAL
The RC-3 is powerfully equipped yet conveniently housed in a compact pedal. Enjoy up to three hours of stereo recording time, storage for 99 loops, a “real drums” rhythm guide, and USB 2.0 compatibility all in a small BOSS stompbox.

RC-30 DUAL LOOP STATION PEDAL
The RC-30 is a twin pedal multitrack looper with two synchronized stereo tracks and built-in loop effects. Record for up to three hours direct to internal memory, adding effects as you go.

https://www.boss.info/au/

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YAMAHA MUSIC AUSTRALIA TAKE ON AMPEG AUSTRALIAN DISTRIBUTION

Posted in Blog    //    Post Date - December 4, 2018

Earlier this week, Yamaha Music Australia (YMA) was proud to announce that they had undertaken representation and distribution of world-leading bass amp brand, Ampeg, in Australia.

Yamaha Guitar Group Inc. (YGG), U.S. subsidiary of Japan-based Yamaha Corporation, acquired the AMPEG brand on May 10th 2018. Co-president of YGG Marcus Ryle commented at the time, “We couldn’t be more excited. Ampeg is arguably the most recognised bass amp brand in the world. They can even be credited with having invented the first bass amp. We are honoured to take the baton in continuance of that legacy.” As the Australian subsidiary of Yamaha Corporation and sister company of YGG, it is a natural progression for YMA to take on the local Ampeg agency.

The iconic Ampeg brand and product line-up is a complementary fit with YMA’s existing suite of products and brands, broadening its offer of solutions for guitar and bass players. With the company brand portfolio now including Yamaha, Line 6, and other leading brands, its position as the leading wholesaler in the Australian musical instrument market is further solidified.
“The addition of Ampeg to our family of guitar and amplifier brands at YMA takes us a step further in our mission to be the number one provider of solutions for guitar and bass players of all genres and backgrounds”, said YMA’s General Manager of Music Products and Education, Michael Shade. “Ampeg rigs are unmissable on stages and in rehearsal rooms worldwide and bring both a strong heritage and serious street credibility to any backline. We’re thrilled to help continue the Ampeg story.”

For more details on the AMPEG brand in Australia, please contact:
Chris Herring, National Sales Manager
E: chris.herring@music.yamaha.com

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BLUES GUITAR MASTER CHRIS CAIN 2019 AUSTRALIAN TOUR

Posted in Blog    //    Post Date - December 4, 2018

Blues aficionados – get ready for it! Bluesman Chris Cain is coming to Oz in May for a string of must-see shows!

Chris concocts a soulful stew of Memphis style electric blues accompanied by powerfully deep vocals and jazz inspired blues guitar riffs that are uniquely his own, a fine brew that pays homage to his heroes, sometimes reminiscent of the legendary BB King and Albert King, but always with his own inimitable seasoning.

A formidable talent and multi-instrumentalist, his expressive style is the result of a lifetime of study and the relentless pursuit of music mastery. His passion and intensity are a blend of his mother’s Greek ancestry and his father’s soulful black heritage. Chris said, “I’m really looking forward to coming back to Australia. I’ve had some of my most wonderful times there and this tour is going to be a lot of fun.”

As a child Chris attended concerts with his father and heard many of the great blues artists of the time. It must have sunk in, because when he burst onto the blues scene in 1987 with his award winning debut album, he soon found himself sharing the stage and trading licks with a few of those legends, including Albert King and Albert Collins. With a voice that recalls B.B. King and a thick toned Gibson guitar sound reminiscent of Albert King, Cain is forging a unique style of his own.

Chris has released a dozen albums, each filled with soul-stirring songs pulled from his own blues drenched heart. His latest album, simply titled “Chris Cain” has been nominated for Contemporary Blues Album of 2018 and he’s also nominated as Male Blues Artist of The Year at this year’s Blues Music Awards in Memphis.

May Tour Dates
Thu 9 The Gov Adelaide w/Lazy Eye – www.thegov.com.au
Fri 10 Thornbury Theatre, Melbourne w/Phil Para – www.thethornburytheatre.com
Sat 11 Firefly St. Kilda w Phil Para – www.fyreflystkilda.com.au/shows
Thu 16 Blues On Broadbeach – www.bluesonbroadbeach.com
Fri 17 Blues On Broadbeach
Sat 18 Republic Bar Hobart w/Pete Cornelious – www.republicbar.com
Sun 19 Bridge Hotel Forth w/Pete Cornelious – www.facebook.com/pg/forthpub
Wed 22 Heritage Hotel Bulli w /Simon Kinney-Lewis – www.heritagehotel.com.au
Thu 23 Brass Monkey Cronulla w/Simon Kinney-Lewis www.brassmonkey.com.au
Fri 24 Club York Sydney w/Simon Kinney-Lewis – www.clubyork.com.au
Sat 25 Southern Cross Club Canberra w/Simon Kinney-Lewis – www.cscc.com.au
Sun 26 Lizotte’s Newcastle w/Simon Kinney-Lewis – www.lizottes.com.au

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DIVINYLS ANNOUNCE FEB & MARCH AUSTRALIAN TOUR

Posted in Blog    //    Post Date - December 2, 2018

Lauren Ruth Ward photo by Nicol Biesek

DIVINYLS founding member, guitarist and co-songwriter Mark McEntee has announced an Australian tour which will begin in February next year. The band will feature charismatic female lead LA-based singer/songwriter, Lauren Ruth Ward, plus original Blondie guitarist and Divinyls (1987-88) alumni, Frank Infante.

Long is the time since billboards across the country have lit up with the name Divinyls. A brand synonymous with raw, exciting, and above all uncompromising rock ‘n’ roll. A band that won the heart of a nation and then eventually the world. That time has come again as founding member, guitarist and co-songwriter Mark McEntee returns in 2019 with a talented new line-up hitting the road in March to honour the legacy and celebrate the indelible music created with the late, great Chrissy Amphlett.

Led by the commanding vocal stylings of Amphlett and the whip smart guitar vocabulary of McEntee, the Divinyls were a massive international success in the ‘80s-‘90s.

Managed early on by Bon Scott’s friend and collaborator, Vince Lovegrove, the Divinyls signed to the biggest-ever publishing deal with EMI America as the duo co-wrote hits such as Boys In Town, Only Lonely, Sleeping Beauty and the international hit, I Touch Myself, which charted at #2 on the US charts in 1991.

By this time the Divinyls were sharing management with Madonna and Michael Jackson. It was a deal that had stemmed from early and hard-earned American success, opening 1983’s iconic US Festival to over 150,000 people, being the focus of a double-page spread in the New York Times and touring with the heady likes of Aerosmith, The Ramones and The Cult.

While I Touch Myself was banned in certain parts of the world (including radio stations at home in Australia) it caused a stir with audiences as bras were raised at shows in salute and a new openness evolved in pop culture. The empowerment inspired by Amphlett was unstoppable and though she tragically passed away in 2013, she remains a feminine icon for then and now.

Throughout the band’s history, Mark McEntee impressed as a world-class songwriter and guitarist, and a highly-acclaimed musical arranger in the studio. He co-wrote I Touch Myself with Billy Steinberg (Like A Virgin, True Colors, Eternal Flame), had his song, Science Fiction, included in APRA’s ‘75th Anniversary Best 30 Australian Songs Of All Time’ and penned The Pretenders 1999 hit, Human On The Inside, for Chrissie Hynde. The Divinyls are inductees in the ARIA and Victorian Music halls of fame as proof that the songs will live on forever.

Feeling an organic need as a musician to perform the songs he co-wrote once again, McEntee will lead a major Divinyls tour in 2019. Joining him will be firebrand Baltimore-bred, LA-based singer/songwriter, Lauren Ruth Ward, original Blondie guitarist and Divinyls (1987-88) alumni, Frank Infante, and a cracking new Australian rhythm section featuring J Cortez and Malcolm Clarke to bring those hit tunes – from the heart and source – back to stages all over the world.

It’s time. And it’s also, as McEntee says, a Divinyls Mission.

Principal Entertainment and Wheels & Dollbaby Present
Divinyls
*Tickets on sale December 6th, 2018

WEDNESDAY 27TH FEBRUARY- WINTERSUN HOTEL- GERALDTON
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FRIDAY- 1ST MARCH – GATE ONE THEATRE – PERTH
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SATURDAY 2ND MARCH- DUNSBOROUGH TAVERN- DUNSBOROUGH
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SUNDAY 3RD MARCH- GATE ONE THEATRE – PERTH
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WEDNESDAY 6TH MARCH- THE GOV – ADELAIDE
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THURSDAY 7TH MARCH- FORUM- MELBOURNE
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FRIDAY 8TH MARCH- UNI BAR- HOBART
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SATURDAY 9TH MARCH- SALOON BAR- LAUNCESTON
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SUNDAY 10TH MARCH- LORNE HOTEL-LORNE
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WEDNESDAY 13TH MARCH- ANU- CANBERRA
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THURSDAY 14TH MARCH- WAVES- WOLLONGONG
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FRIDAY 15TH MARCH- ENMORE THEATRE – SYDNEY
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SATURDAY 16TH – MARCH- LIVE AT THE FORESHORE-NEWCASTLE
WWW.LIVEATTHEFORESHORE.COM.AU

WEDNESDAY 20TH MARCH- COOLANGATTA HOTEL- COOLANGATTA
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THURSDAY 21ST MARCH – EATONS HILL HOTEL – BRISBANE
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FRIDAY – 22ND MARCH -WHARF TAVERN- MOOLOOLABA
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SATURDAY 23RD MARCH- RACEHORSE HOTEL- IPSWICH
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MONDAY 25TH -MARCH DISCOVERY – DARWIN
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WHICH GUITAR WIRELESS SYSTEM SHOULD I CHOOSE?

Posted in Accessories, Blog    //    Post Date - December 1, 2018

Gone are the days when wireless systems were reserved for professionals playing huge stadium gigs, with cumbersome, bulky belt packs as the price of admission for untethered freedom.

These days, wireless systems are progressively becoming more compact and affordable, and worth considering regardless of whether you are:

- Playing gigs, and you’re sick of getting tangled with your singer mid-set, or you want to nail that 
   magnificent stage dive during your solo spot
- Practicing at home, and want to reduce the mess of cables so that you (or your kids!) are less likely
   to trip over your precious gear
- Just looking to get a wireless system, because wireless is fun and cool and you want to be able to play 
   from the kitchen!

In this article, we’re going to discuss some of the main factors to consider when buying a wireless system, and find out how the BOSS WL series stack up to these key metrics.

THINGS TO CONSIDER WHEN BUYING A WIRELESS SYSTEM
Form Factor
Generally speaking, wireless systems come in rackmount systems (often costly), pedal format (more affordable), and in recent years, bug-style transmitter/receiver combos (most affordable) have become popular. The type of system that you choose will depend on your application – do you just want to minimise extra cargo and be able to plug the two wireless bugs in and play? Or would you rather have the receiver integrated into your pedalboard neatly?

2.4GHz vs Radio/TV Frequency
Early wireless systems operated on the UHF and VHF radio/TV frequency bands (and many still do). To cut a long story short, over the past few decades many countries have changed their laws around which frequencies can legally be used. This may differ from country to country (meaning that if you go on tour or move countries, your UHF/VHF frequency wireless may not be legal to use), and in some cases even if it is legal to use, it may require the purchase of an annual license.

These days, most wireless systems are switching over to the digital realm. The 2.4GHz frequency standard (which is actually a band approximately between 2400 and 2500 MHz, and otherwise known as the band that your WiFi lives on) is free to use worldwide and is now becoming the standard for prosumer guitar wireless systems.

Frequency Channels and Interference
Let’s assume that we’re going with a modern digital wireless system. Sure, now you don’t have to worry about licensing or illegal frequencies, BUT in this day and age with so much congestion in the 2.4GHz WiFi frequency range, you want to make sure that your unit has enough channels to operate without experiencing interference from other signals.

Some units require you to manually change channels, which means longer setup time if you’re experiencing interference at a particular venue, while others have automatic pairing/sensing functions to quickly set the system on the optimum channel for the environment that it’s in. Also, the more available channels, the more wireless systems of the same kind that you can run all at once. Get the whole band going wireless – the dream is real!

Latency
Passing your guitar through the wireless transmitter, which then converts it either into a digital or analog frequency signal which can then be sent through to the receiver and converted back into an analog audio signal requires a tiny, but measureable amount of time. This small lag between when you hit a note, and when it actually comes out the wireless receiver into your amp or pedalboard, is called latency.
The lower the latency, the better. Higher latency may result in a perceivable delay or disconnect between your playing and the guitar sound coming out of your amplifier. Additionally, any other components of your signal chain can add on their own tiny bits of latency to your signal – so you really want your wireless system to be as low latency as possible just to stack the odds in your favour.
For context, the speed of sound is 343m/s. If you’re standing 1 metre away from your amp, the sound will take approximately 2.9 milliseconds to reach your ears. Ideally, you’d want something with latency on that order of magnitude or less!

Range/Distance
Pretty straightforward – the further the nominal range of the wireless system, the further away you should be able to get from the receiver (in theory). In practice, the range will be highly dependent on local factors like solid objects between the transmitter and the receiver (walls, people etc).
For normal use on small to medium stages, having a huge range shouldn’t be a major concern. However, if you do expect to occasionally push the limits of the wireless range, then having one with a larger nominal line of sight range should help to a certain extent.

Power Supply/Battery Life
It’s important to think about how you’ll be powering your wireless system. Does the transmitter need its batteries replaced before a gig? Is it rechargeable – which means no need to replace batteries, BUT you have to remember to charge it before a gig! And all that aside, how long exactly will the charge last when you’re on stage playing?

To be totally safe you might consider a wireless system with a battery life of at least twice as long as your longest gig (assuming you play in a corporate function band doing 4 hour gigs, and you never unplug/turn off your wireless in the breaks – so that’s a minimum of 8 hours we’re aiming for).

Tone
Tone is extremely subjective, of course. But ultimately, a guitar wireless system should try and transmit your tone as faithfully as possible.
And yet – a guitar cable doesn’t do this 100% efficiently either! The longer a guitar cable, the more it loses a subtle amount of high-end in the signal. We’re used to hearing this treble roll-off and your guitar tone may seem jarring and a little harsh without it – and for this reason, some wireless systems incorporate a “cable tone” feature which simulates the tone of using real cables.
On the other hand, low impedance sources like active pickups, acoustic preamps or keytar/synth do not experience the same treble roll-off with cables, and so for these instruments, the “cable tone” feature may not be desirable or necessary.

So, the wireless system that you choose may also be dictated by your choice of instruments. Are you a multi-instrumentalist who may need to switch between acoustic guitar, electric guitar with passive pickups and keytar? Or are you just rocking a bass with active pickups all night?

BOSS WL SERIES
Now that we know all the important criteria for selecting the best wireless system for your needs, let’s see how the BOSS wireless offerings stack up!

The WL series consists of:
– WL-20
– WL-20L
– WL-50

As a first stop, we’ve included a handy summary table for your reference, using all the key criteria that we discussed just before.

For more in-depth reading, head over to https://www.boss.info/global/promos/wireless/!

Article by Ed Lim BOSS Guitar Product Manager

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MELBOURNE INTERNATIONAL GUITAR NIGHT SPRING EDITION

Posted in Blog, Melbourne guitar Show News    //    Post Date - November 29, 2018

Following soon after the Melbourne Guitar Show in August, we debuted the Melbourne International Guitar Night at the Toff in Town. The philosophy of the guitar night was to bring together a collection of local and and sometimes international, skilled guitar players to perform in front of a room full of lovers of guitar music. The aim was to create a regular event, where people could feel part of our amazing guitar community.

Curated by Drew Roller, the man behind the wonderful film Acoustic Uprising and supported by Australian Musician, the Melbourne Guitar Show and NAMM, the guitar night was back at The Toff this week and building on the spirit of the first evening, even more people attended and enjoyed a fabulous night of guitar music.

Despite global guitar guru Joe Satriani playing just a few blocks away on the same night, a packed house enjoyed fabulous performances by Adam Miller, Phisha, Cooper Lower, and Sonia Serin. Look out for news on the third Melbourne International Guitar Night in early 2019.

 

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JONI – THROUGH PHOTOGRAPHY – A CELEBRATION OF JONI MITCHELL

Posted in Blog    //    Post Date - November 28, 2018

A couple of weeks ago we sent New York-based, Australian artist/composer Nilusha Dassenaike along to the Morrison Hotel Gallery in New York to check out a wonderful exhibition, Joni -Through Photography – A Celebration of Joni Mitchell. The exhibition featured classic and rare photos of Joni by some of the world’s finest photographers including Henry Diltz, Joel Bernstein, Graham Nash, Joel Bernstein, David Gahr and many more. If you are ever in New York, LA or Maui, visit the Morrison Hotel galleries and view some amazing photography and be assisted by attentive and knowledegable staff

Prints are available to purchase through HERE

 

 

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