Coldplay's Chris Martin really, really likes Apple. Doubt it? It's the name he and his wife, Gwyneth Paltrow, bestowed upon their first child. And yesterday, to perform a new song called Wedding Bells for the first time ever in public, he chose to do so at an Apple convention in California.

And it could be the last time Martin plays the song - at least he suggested that much. In his introduction of the long-gone-wrong lament, the singer joked, "This is a new song… I've been working on it - it's called 'Coldplay 2.6'. It has a lot of new features. It features seven different kinds of chords. Even a new one that our closest rivals have no idea about."

Which of course elicited guffaws from Apple CEO Steve Jobs and company. Still, the tone of the song, which Martin performed at a time when tabloids are rife with stories of his imminent split from Paltrow, was deadly serious.

"Those wedding bells are ringing up upon that hill/ and I don't want to swallow such a bitter pill/ you keep on moving, but I stay still/ but I always loved you and I always will," Martin sang in the opening verse. Makes you wonder if he'll stay true to his word and never play the song again.

So the band is rockin', it's your turn to solo, but guess what? You forgot your instrument! No matter - you've got a six-pack of Tuned Pale Ale Beer, the brew that inspires musicality.

Well, kinda. Tuned Pale Ale - and really, we can't make this stuff up, folks - is a beer aimed at musicians, or at least those people who have tooted the top of a bottle and thought, Hey, that sounds great...I wonder what key I'm in?

Tuned Pale Ale features notes on its bottles which makes it easy to understand. Drink 1/3 of the beer and you're in F. Down half and you're in D (well, actually, from the above photo it looks like you're in C#). And when the bottle 1/3 full, you're pretty much in A.

According to the Tuned Pale Ale website, the beer is "a product that explores the musical affordances in everyday objects and promotes social spontaneity. While drinking beer, people become musically encouraged and often start making music with objects around them. This product aims to promote more of this type of social interaction. This product aims to inform users about the musical qualities of existing bottles and to make the bottle a better instrument."

Unfortunately, however, only a limited amount of Tuned Pale Ale was produced and the beer is no longer being manufactured. But the makers are seeking larger brewing and distribution options. If you have deep pockets and just love the idea of promoting musical interaction through beer drinking, you can contact them here. Many people in the world will thank you for it...whether they know it or not.

It was Guns N' Roses vs angry, bottle-throwing fans at the O2 Arena in Dublin, Ireland last night, and the fans won. Or lost, depending on how you look at things. In any event, the volatile Axl Rose, in classic form, bolted after just a few songs.

Guns N' Roses were scheduled to appear at around 9:15pm, but they didn't walk on stage didn't until 10:25pm, and when they began their opening number, Welcome To The Jungle, the fed-up crowd let loose.

In the above NSFW video, a roadie is clearly visible cleaning up something or other from the stage at 1:23 seconds in. Only moments later, at 1:32, Rose told the band to stop playing and addressed the audience: "All right, here's the deal: one more bottle, we go home. It's up to you.

"We would like to stay. Do you want us to stay? We want to stay. We want to have some fun. If you don't want to have fun all you've got to do is let us know - we've got no problem - and we'll go on our way." Then he told the the band, "Start over."

Three songs later, Rose walked off. As you can see in the video, an arena official came on stage and announced that the venue was trying to sort out the "technical difficulties" - only the crowd wasn't buying it.

Then a member of the staff or one of the promoters came on to say, "We're trying hard to get Axl back on stage. I would ask you to refrain from throwing items at him. I promise you a great show, but you need to calm. I'm sorry about this."

According to reports, the band sans Axl did return to the stage to play a short set, but by then most of the fans - or now non-fans - had already left.

Self Preserved While The Bodies Float Up, the fourth studio album by Manchester progressive rock geniuses Oceansize, is released on Monday 6 September.

Earlier in 2010, MusicRadar met up with band members Mike Vennart, Steve Durose, Gambler, Mark Heron and Steven Hodson, who walked and talked us through their individual live set-ups during soundcheck at Cardiff Barfly.

Check out the video to see and hear the stories behind the guitars, pedalboards, amps, drums and more that play their part in the band's monolithic wall of sound. Hardcore gear nerds should also be able to get a glimpse of their effects and amp settings too!

For more on Oceansize, visit the band's website, or check out the trailer for the new album here:

Yesterday's Apple event has been and gone and, as expected, consumers have been blessed with a trio of new iPods; a revised Apple TV; and an iTunes update complete with social networking feature (not expected).

Here's our guide to the essential bits:

iTunes 10 and Ping

As well as a new logo, iTunes 10 sees Apple taking on social networking with a new feature called Ping, described by Steve jobs as "Facebook and Twitter meets iTunes".

In a nutshell, Ping is a tool for compiling and sharing playlists with others in your Ping network. You can create a profile, follow your favourite artists for updates and track your friends' downloads. Naturally, it's all transferable to iPhone and iPod touch running iOS 4.

It's interesting to note that Apple's official press release attempts to shake off iTunes' shopfront image by referring to it as "the number one music community in the world, with over 160 million iTunes users in 23 countries." So, while the likes of Lastfm do this kind of thing very well already, you can't argue with those figures and the possibilities for domination they hold.

However, after ten minutes of Ping we're not exactly blown away. As far as we can tell those promised playlists aren't actually playable - they're merely shop links. It's also not clear how musician's can set up their own artist pages.

iPod touch 4G

"Retina display, FaceTime video calling, HD video recording, Apple's A4 chip, 3-axis gyro, iOS 4.1 and Game Center - all combined in the thinnest and lightest iPod touch ever. The new iPod touch features up to 40 hours of music playback and seven hours of video playback on a single battery charge."

By Steve Jobs' own admission, the iPod touch 4G is essentially 'an iPhone 4 minus the phone and SMS functions'. So we could just refer you to iPhone 4 and music-making: what's changed? for a musicians' perspective of the new features. Or check out TechRadar's super early iPod touch 4G hands-on review.

The new models will set you back £189 for 8GB, £249 for £32GB and £329 for 64GB, available in the UK within the next week.

Next: iPod shuffle, multitouch nano and Coldplay

{PAGEBREAK}

iPod shuffle and multitouch nano

While Apple's miniature players offer little more than listening pleasure to the portable musician, 2010's updates are worthy of a paragraph at least.

The ever-changing nano is almost half as small and half as light as its predecessor making it far closer in size to its minute shuffle sibling (it even comes with a clip). It does, however, score points off the touch by boasting its own multitouch interface and impressive (if true) 24 hours of music playback battery life.

The new shuffle sees a return to the clickable ring control with up to 15 hours of battery life.

UK pricing is as follows: iPod shuffle £39 for 2GB; iPod nano £129 for 8GB and £159 for 16GB.

Coldplay

Last but not least, Chris Martin got his geek on by taking to the stage to debut a new "Coldplay version 2.6" track, Wedding Bells. Cool Flaming Lips T-shirt, though…

REVIEW: You've got to hand it to Killers frontman Brandon Flowers: He's always done things his own way. Growing up in Las Vegas (the adopted home to both Frank Sinatra and Elvis Presley), when his friends were buying records by Tool and Nirvana, he held true to the English bands he loved, groups like New Order, The Smiths, Pet Shop Boys and Depeche Mode.

Later, as he rose to prominence with The Killers, he boldly proclaimed his lifelong membership in The Church Of Jesus Christ Of Latter-Day Saints, making him, besides The Osmonds, one of the few Mormon rockers to go public. (Quibble with the definition of The Osmonds as "rockers" all you want - Crazy Horses is heavy to the max.) Beyond that, he's one of a handful of men who has recently sported a moustache unironically and gotten away with it.

REVIEW: You've got to hand it to Killers frontman Brandon Flowers: He's always done things his own way. Growing up in Las Vegas (the adopted home to both Frank Sinatra and Elvis Presley), when his friends were buying records by Tool and Nirvana, he held true to the English bands he loved, groups like New Order, The Smiths, Pet Shop Boys and Depeche Mode.

Later, as he rose to prominence with The Killers, he boldly proclaimed his lifelong membership in The Church Of Jesus Christ Of Latter-Day Saints, making him, besides The Osmonds, one of the few Mormon rockers to go public. (Quibble with the definition of The Osmonds as "rockers" all you want - Crazy Horses is heavy to the max.) Beyond that, he's one of a handful of men who has recently sported a moustache unironically and gotten away with it.

Alex Lifeson on stage with Rush in 2004, playing one of his Paul Reed Smith CE models. © Ethan Miller/Reuters/Corbis

Rush's Alex Lifeson is a man who knows how to party. It's his 57th birthday, reason enough to bag work and head out on the sailboat with a cooler full of brews. But the affable yet soft-spoken guitar hero has other, better plans, like hitting the stage at the State Fair Grandstand in St Paul, Minnesota before 17,000 fans and giving them a three-hour present they'll always remember.

"To be honest, there's nothing I'd rather be doing," Lifeson says. "What's going on with the band right now is so fantastic, and the acceptance we're getting from the audiences - I've been saying this for a few years now so I should probably stop, but it really feels like the best time to be in Rush. The three of us are enjoying every second of it."

And with good reason: even without the benefit of a new album (although they recently released two songs, the rifftastic Caravan and BU2B), Rush are experiencing the kind of banner year that most bands, veterans or newbies, can only dream about. There's the sold-out Time Machine tour (sure, doing their beloved 1981 album Moving Pictures in its entirety hasn't hurt ticket sales, but packing 'em in hasn't been a guarantee for any act during this tough economic year). There's the universally well-received documentary Beyond The Lighted Stage, which details the history of the group but also exposes a rich and humanistic (and, at times, wildly funny) side to their story rarely seen in rock docs.

And then there's the award that trumps most, a star on the Hollywood Walk Of Fame. No, we're not talking Guitar Center's Rock Walk, we're talking the real deal, a six-foot section on that storied stretch that immortalizes other well-known rockers such as Bogart, Chaplin and Monroe. "What a huge thrill," Lifeson says, letting out a chuckle, as if he still can't quite believe it himself. "For three guys from Canada who just wanted to play music, to get that kind of recognition...well, we're still stunned."

It all seems part of Rush's remarkable, unbroken streak of doing the impossible: playing 20-minute pieces of progressive rock during the height of punk and New Wave (although they did sneak a bit of Police-inspired reggae into their breakthrough hit The Spirit Of Radio); dispatching guitar and drum solos during concerts when such flagrant displays of instrumental dominance were seen as decided no-nos by an overwhelming portion of the music press illuminati. Hell, they even let the drummer write the lyrics! Didn't somebody read these guys the rules?

And yet, it all worked like a charm. Further proof of Rush's ability to buck every trend in existence lies is this fascinating phenomenon: as they gain new fans, many of whom never even heard of 2112 let alone own it, the group retains a vice-like hold on its longtime devotees. In this way, Rush are progressive rock's answer to the Grateful Dead. All are welcome to the dance.

And so here we are with the birthday boy himself, Mr Lifeson. Before stepping out onto the lighted stage, the celebrated guitarist chatted with MusicRadar, holding forth on topics such as Rush's upcoming album, Clockwork Angels; the decision to play Moving Pictures in its entirety; steampunk stage design; and what just might be his new favorite solo to play live.

Happy 29th birthday, man! Seriously, you don't even look it.

[laughs] "That's great! Oh my, I'm so far past 29 that I don't even joke about it anymore. But thank you. That's very nice."

You're a little more than midway through the tour. How are things feeling?

"Things are good. I'm a little tired today. You get that way at the halfway point in a tour, and then you kind of zip back to feeling energized again. It's like anything, really."

So let's talk about the place that Rush holds in modern culture these days. You guys were never seen as the 'cool band,' but now you are; in fact, you're way cool.

{PAGEBREAK}

"I know. It's incredible, isn't it?"

A lot of things have led to this sudden shift in the earth's axis, but surely the new documentary had a big impact. People never realized how funny Rush could be.

"I guess that's true. I think Rush have always had this reputation, particularly to non-fans, of being an ultra-serious and cerebral group when, in fact, the reverse is true. We don't take ourselves seriously at all. Sure, we take our music seriously, but that's altogether different. As people, we're just three regular guys. People are always stunned at how normal and we are. We don't act like rock stars. We have very middle-class values and a good work ethic. Behaving like rock stars, that's just not the way we're built.

"I think the documentary, above anything else, made us accessible to women. Believe me, it hasn't gone unnoticed that we're seeing a lot more women at our shows than ever before, and that's probably not by accident. Something is definitely bringing women in. I think the documentary affected them somehow."

I'll be honest, Alex: My wife was never a huge Rush fan, but she watched the documentary with me and said, "Oh my God, I love these guys! They're so fun." Her mind was completely turned around.

"That's amazing, isn't it? We've heard that's been the case, and again, it's reflected at our shows. Perhaps a lot of women - maybe their husbands or boyfriends were lifelong fans - might never have thought of coming to see us live, but they saw the documentary and see us in a new light.

"It's probably a lot of other things, as well. Getting the star on the Hollywood Walk Of Fame was a great moment for us, an unbelievable honor, obviously. Plus, we did that film, I Love You Man, which also exposed us to a new audience. In addition, and this might be the biggest thing of all, there's the fact that we've just been around for so long. Eventually, you kind of wear down people's resistance, and they start to see you for what you really are. I do think the documentary helped in that area - it showed everybody how close a unit we are and that we really love and care about one another. Our bond goes way beyond the music."

The press, too, is on your side now. This wasn't always the case. I assume you've noticed a difference in how journalists treat the band.

"Yeah, for sure. We've had our share of poor press, particularly in the early days. But over the years, that's improved. You know, we just do what we do, and we don't think too much about what the press has so say about us. I can see now that the press is overwhelming positive, which is nice. At the same time, I think we're playing really well, perhaps the best we've ever played. There's a confidence in our groove. The bottom line is, we're having a lot of fun. Every night we hit that stage and have a fantastic time. The audience sees it and feels it , and after a while, I think the press picks up on it, too."

Do you think your situation with the press is analogous to what Led Zeppelin experienced? In their early days, they got bashed by magazines like Rolling Stone, but over time younger writers came up and weren't afraid to say, "Hey, wait a minute. I always loved that band!"

"We are seeing more of that. You know, when we started out, our audience was all teenagers, and of course, we weren't much older. But now we've got doctors and lawyers and heads of film studios and people who are involved with big corporations, and they've been Rush fans for years. It's really kind of weird. [laughs] Again, I think it's just a matter that we've stuck around for so long."

{PAGEBREAK}

Alex and Geddy Lee get the red carpet Hollywood treatment last June. Neil Peart was riding his motorcycle to a gig at the time. © RD / Scott Kirkland /Retna Ltd./Corbis

"As far as the press goes, you're right. Those fans from years ago did become journalists, and maybe they are writing more positive pieces about us. It's changed dramatically. At the same time, the mainstream press…what does it really mean anymore? Communication and the ways we get our information, it's so different now. Things are online, then they go viral - everything's all over the place."

I find it a little surprising that Rush would go on tour while in the middle of recording a new album.

"Well, we're not really in the middle. We wrote six songs and recorded two of them, both of which we're playing live. We'd like to start writing again once the tour is over. I'm guessing that we'll resume recording at the start of the new year.

"Our decision to go on tour during an album project…I don't know, we just thought it'd be kind of cool. Plus, there's nothing that gets your playing chops together like being on tour. We wanted a break in the routine, and I think we didn't want to just sit in a studio and feel burdened with coming up with an hour's worth of music at one time. So we kind of said, 'Let's record these two new songs, put them out there and hit the road.'"

You guys are going to be playing South America in October. This will be your first time there since 2002, and only the second time you played that part of the world.

"That's right. We're really looking forward to it. We have two shows in Brazil, a show in Buenos Aires and a show in Santiago. The Rush fans are pretty crazy everywhere, but they're particularly wild in South America. Those dates should be a lot of fun."

A major highlight of this tour is that you're playing Moving Pictures in its entirety. What led to this decision?

"Actually, the idea came from Neil. He had seen Steely Dan play last year, and they were doing a different album every night. So that got him thinking that maybe we should do something like that.

"We always needed to address the song Camera Eye because it's the most-requested track in our catalogue. So the decision to do Moving Pictures from beginning to end meant that we could do Camera Eye but also do something interesting that we knew our fans would enjoy. It's been absolutely terrific, I must say. We start playing Moving Pictures, and by the time we're done, it feels like time just flew by. The fans love it, we love it - I'm really glad at how it's being received.

"I have to tell you, though, no matter what the songs, I love playing every night. There's never a night where I'm not loving what I do - and what we do. And every night I try to play better than I did the night before. I'm never satisfied. I think I'd be scared if I was satisfied, because that would lead to complacency. I'm always trying to play a perfect show, and when you consider that we perform for three hours, that's a very elusive thing."

A few years ago, you've mentioned to me that the solo to Limelight is one of your favorites to play live. Do you still feel the same way?

"I've always enjoyed the elasticity of that solo, particularly the way it sounds on the record. It has a certain tonality I just love. I do like playing the solo live, but I think I prefer listening to it on the album. On record, it has a magical quality to it - it really conveys the pathos of the song and the lyrics. I've never been able to re-create that live. I get pretty close, but it's never exactly the way it is on record. I'll keep trying, though."

{PAGEBREAK}

Alex Lifeson's steampunk-inspired Hughes & Kettner cabinets, specially designed for the Time Machine tour.

"These days, however, I'd have to say that the solo in La Villa Strangiato is starting to catch up to Limelight as my favorite to play live, and for the same reasons: It's quite emotive, and it's got a very bluesy, almost minor-ish feel to it. Also, the music that surrounds the solo - everything Geddy and Neil are doing - is incredible. It feels great to play it on my 355, which is the guitar I recorded it with. All in all, it's a wonderful moment."

Talk to me about the steampunk stage design of the Time Machine tour. Your Hughes & Kettner cabinets, Neil's drums, Geddy's setup - it's totally wild. What brought this about?

"We were just talking about what kind of theme we could go with as far as the staging for the tour, and we dug the idea for the steampunk imagery. We all worked independently on getting our stuff together, although Geddy and I both used the same guys to do the actual manufacturing. Neil used somebody else for his drums. They did a great job, and I think the audience is really thrilled with the way it looks.

"The whole steampunk movement is very interesting. We've been aware of it for a while now, and there's certainly a lot of great stuff out there that people are doing. It's worked out well for us; it's a neat surprise for everybody. I'm very happy we went with it."

Let's get into your two new songs, Caravan and BU2B, both of which have fantastic solos -

"Oh, thank you!" [laughs]

Well, that's what I wanted to talk to you about. I love how unruly the solos are. Was that what you were going for?

"Yeah, absolutely. With Caravan, I definitely wanted something that was out of control. It's all over the map, kind of frenetic and climbing up and down with what the rest of the track was doing.

"In the case of Brought Up To Believe, at first we experimented with something more traditional, but it just sounded, I don't know…ordinary. So we decided to punctuate points in the solo section with a more screaming guitar presence. I think it worked."

I would agree. By the way, is Brought Up To Believe the correct title?

"It goes by both names. You can call it either one, really."

What guitars did you use on those songs?

"On those I was using my '59 Les Paul reissue, my 355 and my Telecaster [a 1959 reissue]. For the solos, used the Les Paul."

{PAGEBREAK}

Caravan and Brought Up To Believe are pretty rocking. Are they a pretty good indicator of what we can expect from Clockwork Angels?

"I don't know. I'm curious to see how it all develops. When we finish the tour, we'll review the songs we wrote. There's bound to be some changes and modifications. In fact, I think both Caravan and BU2B will be re-recorded."

Really? Why is that?

"Because they've grown. And, you know, why not? We'll see what happens and see if we can better them - although we are happy with them as they are now.

"The title track, Clockwork Angels, is becoming quite an epic, so we'll have to see where that goes. It's going to be a lot of fun getting back in the studio, especially at this point in the game, when we're playing at our peak."

Every group, I would imagine, feels they have something to prove with each new album. What are your goals on Clockwork Angels - personally, as a guitarist, and collectively, as a band?

"Hmmm. I don't really think in those terms. We don't feel as though we have to prove anything. We just want to write great songs. As you know, the album format seems to be dying in some ways. Rush are traditionalists, so I don't think it'll die for us. This is the first time that we released any new material independent of an album, which was a good thing for us. We wanted to do something different and step out of the box a little bit. It's something we might do again: spend a month or so writing, record two or three songs and release them. Why not?"

It's what bands did back in the '60s. The Beatles, The Rolling Stones - they were always putting out singles that weren't on their albums.

"Yep, I remember that. Sure. I think it's good for us to do stuff like that. But going back to the original question, we're not out to prove anything on this record. We're quite happy with the material we have; we'll get in and finish the record; and once we put it out, probably sometime next year, we'll hit the road with a tour that highlights the album."

You've been recording with Nick Raskulinecz in Nashville. Are you going to go back there to finish the album?

"I don't know. For those two songs, we did work in Nashville, but we haven't made any decisions as to where we'll record when we pick things up again. You know, I have my own studio at home, so I'd love to do the guitars there. The thing about Nashville is, that's where Nick lives. He'd been away from home a lot, and I think he was really hoping that we'd agree to work there. We didn't have a problem with that. It's good for us to go away sometimes and be a little more focused - certainly, there are distractions when you're home. So going to Nashville and working for a week was no big deal. Blackbird is a terrific studio. Great gear, great rooms, a wonderful staff - it was a no-brainer to be there.

"Moving forward, however, we'll see. You know, Neil lives in Los Angeles, so I'm sure he wouldn't mind if we did the drums there. I want to do the guitars in my home studio. I don't know how Geddy feels about going to separate studios to do vocals and bass tracks. It's all a ways off, though. We still have a bunch of touring to do."

{PAGEBREAK}

Alex and Geddy do their best 'Guitar Hero' poses at the Air Canada Centre in Toronto, Canada last July. © Brian Patterson/Corbis

You mentioned some of the guitars you've been recording with, but what models are you using live?

"Let's see, I've got a bunch of Les Pauls, some with different tunings. I've got the 355 and the Telecaster. I've got two Paul Reed Smiths CE models - one has active, single-coil pickups, and the other is the straight CE bolt-on that I've had for 20 years or so. I think that's it."

Regarding the Les Pauls, have you made any new modifications to them?

"I haven't done anything since I got those guitars, but I've been working with Gibson on putting together a Les Paul Axcess model, which would be an Alex Lifeson signature guitar. It'll have the Floyd Rose, the piezo pickup in the bridge and single-coil taps in the volume pots. Basically, we've taken everything you could want in a guitar and we're putting it into a really true utility instrument in a fantastic platform."

You're not busting out the Gibson EDS-1275 double neck anymore, though, huh?

[laughs] "No. I think I'm a little too old for that. It hurts my back too much. Maybe next tour I'll bring it out. We'll see."

Do you have any kind of practice routine? Is there anything in particular that you work on?

"Not really. I'll just play stuff. I'll mess around with tunings and what not. If I want to work on strengthening my fingers, I might do certain little exercises - fast little funs and pulls. But generally, when I'm just playing for my own enjoyment, I'll just play. I don't play songs per se; I just…you know, I play! [laughs] There's no routine. On show days, however, I will practice for 20 or 25 minutes about 45 minutes before the show. I'll run through some leads and scales, just things to limber up my fingers."

Rush is coming out with a version of Guitar Hero video game based on the album 2112. How involved were you with Activision in the overall concept?

"They included us in the early talks about how they wanted to present the game. They wanted to take it a step further from what Guitar Hero originally was and make it more of a story-oriented game. We did some narrative stuff for it. I have to say, they were very considerate and really cool to work with."

I remember when Rush played Tom Sawyer on Rock Band backstage at The Colbert Report. You guys weren't too good at playing your own song on a game system. Are you any better at Guitar Hero?

[laughs] "No, I retired after that. I'm much better at the real thing."

-------------------------------------------------------------------------------------------------------

Liked this? Now read Rush's Alex Lifeson: "My 3 best solos"

Connect with MusicRadar: via Twitter, Facebook and YouTube

Get MusicRadar straight to your inbox: Sign up for the free weekly newsletter

Alex Lifeson on stage with Rush in 2004, playing one of his Paul Reed Smith CE models. © Ethan Miller/Reuters/Corbis

Rush's Alex Lifeson is a man who knows how to party. It's his 57th birthday, reason enough to bag work and head out on the sailboat with a cooler full of brews. But the affable yet soft-spoken guitar hero has other, better plans, like hitting the stage at the State Fair Grandstand in St Paul, Minnesota before 17,000 fans and giving them a three-hour present they'll always remember.

"To be honest, there's nothing I'd rather be doing," Lifeson says. "What's going on with the band right now is so fantastic, and the acceptance we're getting from the audiences - I've been saying this for a few years now so I should probably stop, but it really feels like the best time to be in Rush. The three of us are enjoying every second of it."

And with good reason: even without the benefit of a new album (although they recently released two songs, the rifftastic Caravan and BU2B), Rush are experiencing the kind of banner year that most bands, veterans or newbies, can only dream about. There's the sold-out Time Machine tour (sure, doing their beloved 1981 album Moving Pictures in its entirety hasn't hurt ticket sales, but packing 'em in hasn't been a guarantee for any act during this tough economic year). There's the universally well-received documentary Beyond The Lighted Stage, which details the history of the group but also exposes a rich and humanistic (and, at times, wildly funny) side to their story rarely seen in rock docs.

And then there's the award that trumps most, a star on the Hollywood Walk Of Fame. No, we're not talking Guitar Center's Rock Walk, we're talking the real deal, a six-foot section on that storied stretch that immortalizes other well-known rockers such as Bogart, Chaplin and Monroe. "What a huge thrill," Lifeson says, letting out a chuckle, as if he still can't quite believe it himself. "For three guys from Canada who just wanted to play music, to get that kind of recognition...well, we're still stunned."

It all seems part of Rush's remarkable, unbroken streak of doing the impossible: playing 20-minute pieces of progressive rock during the height of punk and New Wave (although they did sneak a bit of Police-inspired reggae into their breakthrough hit The Spirit Of Radio); dispatching guitar and drum solos during concerts when such flagrant displays of instrumental dominance were seen as decided no-nos by an overwhelming portion of the music press illuminati. Hell, they even let the drummer write the lyrics! Didn't somebody read these guys the rules?

And yet, it all worked like a charm. Further proof of Rush's ability to buck every trend in existence lies is this fascinating phenomenon: as they gain new fans, many of whom never even heard of 2112 let alone own it, the group retains a vice-like hold on its longtime devotees. In this way, Rush are progressive rock's answer to the Grateful Dead. All are welcome to the dance.

And so here we are with the birthday boy himself, Mr Lifeson. Before stepping out onto the lighted stage, the celebrated guitarist chatted with MusicRadar, holding forth on topics such as Rush's upcoming album, Clockwork Angels; the decision to play Moving Pictures in its entirety; steampunk stage design; and what just might be his new favorite solo to play live.

Happy 29th birthday, man! Seriously, you don't even look it.

[laughs] "That's great! Oh my, I'm so far past 29 that I don't even joke about it anymore. But thank you. That's very nice."

You're a little more than midway through the tour. How are things feeling?

"Things are good. I'm a little tired today. You get that way at the halfway point in a tour, and then you kind of zip back to feeling energized again. It's like anything, really."

So let's talk about the place that Rush holds in modern culture these days. You guys were never seen as the 'cool band,' but now you are; in fact, you're way cool.

{PAGEBREAK}

"I know. It's incredible, isn't it?"

A lot of things have led to this sudden shift in the earth's axis, but surely the new documentary had a big impact. People never realized how funny Rush could be.

"I guess that's true. I think Rush have always had this reputation, particularly to non-fans, of being an ultra-serious and cerebral group when, in fact, the reverse is true. We don't take ourselves seriously at all. Sure, we take our music seriously, but that's altogether different. As people, we're just three regular guys. People are always stunned at how normal and we are. We don't act like rock stars. We have very middle-class values and a good work ethic. Behaving like rock stars, that's just not the way we're built.

"I think the documentary, above anything else, made us accessible to women. Believe me, it hasn't gone unnoticed that we're seeing a lot more women at our shows than ever before, and that's probably not by accident. Something is definitely bringing women in. I think the documentary affected them somehow."

I'll be honest, Alex: My wife was never a huge Rush fan, but she watched the documentary with me and said, "Oh my God, I love these guys! They're so fun." Her mind was completely turned around.

"That's amazing, isn't it? We've heard that's been the case, and again, it's reflected at our shows. Perhaps a lot of women - maybe their husbands or boyfriends were lifelong fans - might never have thought of coming to see us live, but they saw the documentary and see us in a new light.

"It's probably a lot of other things, as well. Getting the star on the Hollywood Walk Of Fame was a great moment for us, an unbelievable honor, obviously. Plus, we did that film, I Love You Man, which also exposed us to a new audience. In addition, and this might be the biggest thing of all, there's the fact that we've just been around for so long. Eventually, you kind of wear down people's resistance, and they start to see you for what you really are. I do think the documentary helped in that area - it showed everybody how close a unit we are and that we really love and care about one another. Our bond goes way beyond the music."

The press, too, is on your side now. This wasn't always the case. I assume you've noticed a difference in how journalists treat the band.

"Yeah, for sure. We've had our share of poor press, particularly in the early days. But over the years, that's improved. You know, we just do what we do, and we don't think too much about what the press has so say about us. I can see now that the press is overwhelming positive, which is nice. At the same time, I think we're playing really well, perhaps the best we've ever played. There's a confidence in our groove. The bottom line is, we're having a lot of fun. Every night we hit that stage and have a fantastic time. The audience sees it and feels it , and after a while, I think the press picks up on it, too."

Do you think your situation with the press is analogous to what Led Zeppelin experienced? In their early days, they got bashed by magazines like Rolling Stone, but over time younger writers came up and weren't afraid to say, "Hey, wait a minute. I always loved that band!"

"We are seeing more of that. You know, when we started out, our audience was all teenagers, and of course, we weren't much older. But now we've got doctors and lawyers and heads of film studios and people who are involved with big corporations, and they've been Rush fans for years. It's really kind of weird. [laughs] Again, I think it's just a matter that we've stuck around for so long."

{PAGEBREAK}

Alex and Geddy Lee get the red carpet Hollywood treatment last June. Neil Peart was riding his motorcycle to a gig at the time. © RD / Scott Kirkland /Retna Ltd./Corbis

"As far as the press goes, you're right. Those fans from years ago did become journalists, and maybe they are writing more positive pieces about us. It's changed dramatically. At the same time, the mainstream press…what does it really mean anymore? Communication and the ways we get our information, it's so different now. Things are online, then they go viral - everything's all over the place."

I find it a little surprising that Rush would go on tour while in the middle of recording a new album.

"Well, we're not really in the middle. We wrote six songs and recorded two of them, both of which we're playing live. We'd like to start writing again once the tour is over. I'm guessing that we'll resume recording at the start of the new year.

"Our decision to go on tour during an album project…I don't know, we just thought it'd be kind of cool. Plus, there's nothing that gets your playing chops together like being on tour. We wanted a break in the routine, and I think we didn't want to just sit in a studio and feel burdened with coming up with an hour's worth of music at one time. So we kind of said, 'Let's record these two new songs, put them out there and hit the road.'"

You guys are going to be playing South America in October. This will be your first time there since 2002, and only the second time you played that part of the world.

"That's right. We're really looking forward to it. We have two shows in Brazil, a show in Buenos Aires and a show in Santiago. The Rush fans are pretty crazy everywhere, but they're particularly wild in South America. Those dates should be a lot of fun."

A major highlight of this tour is that you're playing Moving Pictures in its entirety. What led to this decision?

"Actually, the idea came from Neil. He had seen Steely Dan play last year, and they were doing a different album every night. So that got him thinking that maybe we should do something like that.

"We always needed to address the song Camera Eye because it's the most-requested track in our catalogue. So the decision to do Moving Pictures from beginning to end meant that we could do Camera Eye but also do something interesting that we knew our fans would enjoy. It's been absolutely terrific, I must say. We start playing Moving Pictures, and by the time we're done, it feels like time just flew by. The fans love it, we love it - I'm really glad at how it's being received.

"I have to tell you, though, no matter what the songs, I love playing every night. There's never a night where I'm not loving what I do - and what we do. And every night I try to play better than I did the night before. I'm never satisfied. I think I'd be scared if I was satisfied, because that would lead to complacency. I'm always trying to play a perfect show, and when you consider that we perform for three hours, that's a very elusive thing."

A few years ago, you've mentioned to me that the solo to Limelight is one of your favorites to play live. Do you still feel the same way?

"I've always enjoyed the elasticity of that solo, particularly the way it sounds on the record. It has a certain tonality I just love. I do like playing the solo live, but I think I prefer listening to it on the album. On record, it has a magical quality to it - it really conveys the pathos of the song and the lyrics. I've never been able to re-create that live. I get pretty close, but it's never exactly the way it is on record. I'll keep trying, though."

{PAGEBREAK}

Alex Lifeson's steampunk-inspired Hughes & Kettner cabinets, specially designed for the Time Machine tour.

"These days, however, I'd have to say that the solo in La Villa Strangiato is starting to catch up to Limelight as my favorite to play live, and for the same reasons: It's quite emotive, and it's got a very bluesy, almost minor-ish feel to it. Also, the music that surrounds the solo - everything Geddy and Neil are doing - is incredible. It feels great to play it on my 355, which is the guitar I recorded it with. All in all, it's a wonderful moment."

Talk to me about the steampunk stage design of the Time Machine tour. Your Hughes & Kettner cabinets, Neil's drums, Geddy's setup - it's totally wild. What brought this about?

"We were just talking about what kind of theme we could go with as far as the staging for the tour, and we dug the idea for the steampunk imagery. We all worked independently on getting our stuff together, although Geddy and I both used the same guys to do the actual manufacturing. Neil used somebody else for his drums. They did a great job, and I think the audience is really thrilled with the way it looks.

"The whole steampunk movement is very interesting. We've been aware of it for a while now, and there's certainly a lot of great stuff out there that people are doing. It's worked out well for us; it's a neat surprise for everybody. I'm very happy we went with it."

Let's get into your two new songs, Caravan and BU2B, both of which have fantastic solos -

"Oh, thank you!" [laughs]

Well, that's what I wanted to talk to you about. I love how unruly the solos are. Was that what you were going for?

"Yeah, absolutely. With Caravan, I definitely wanted something that was out of control. It's all over the map, kind of frenetic and climbing up and down with what the rest of the track was doing.

"In the case of Brought Up To Believe, at first we experimented with something more traditional, but it just sounded, I don't know…ordinary. So we decided to punctuate points in the solo section with a more screaming guitar presence. I think it worked."

I would agree. By the way, is Brought Up To Believe the correct title?

"It goes by both names. You can call it either one, really."

What guitars did you use on those songs?

"On those I was using my '59 Les Paul reissue, my 355 and my Telecaster [a 1959 reissue]. For the solos, used the Les Paul."

{PAGEBREAK}

Caravan and Brought Up To Believe are pretty rocking. Are they a pretty good indicator of what we can expect from Clockwork Angels?

"I don't know. I'm curious to see how it all develops. When we finish the tour, we'll review the songs we wrote. There's bound to be some changes and modifications. In fact, I think both Caravan and BU2B will be re-recorded."

Really? Why is that?

"Because they've grown. And, you know, why not? We'll see what happens and see if we can better them - although we are happy with them as they are now.

"The title track, Clockwork Angels, is becoming quite an epic, so we'll have to see where that goes. It's going to be a lot of fun getting back in the studio, especially at this point in the game, when we're playing at our peak."

Every group, I would imagine, feels they have something to prove with each new album. What are your goals on Clockwork Angels - personally, as a guitarist, and collectively, as a band?

"Hmmm. I don't really think in those terms. We don't feel as though we have to prove anything. We just want to write great songs. As you know, the album format seems to be dying in some ways. Rush are traditionalists, so I don't think it'll die for us. This is the first time that we released any new material independent of an album, which was a good thing for us. We wanted to do something different and step out of the box a little bit. It's something we might do again: spend a month or so writing, record two or three songs and release them. Why not?"

It's what bands did back in the '60s. The Beatles, The Rolling Stones - they were always putting out singles that weren't on their albums.

"Yep, I remember that. Sure. I think it's good for us to do stuff like that. But going back to the original question, we're not out to prove anything on this record. We're quite happy with the material we have; we'll get in and finish the record; and once we put it out, probably sometime next year, we'll hit the road with a tour that highlights the album."

You've been recording with Nick Raskulinecz in Nashville. Are you going to go back there to finish the album?

"I don't know. For those two songs, we did work in Nashville, but we haven't made any decisions as to where we'll record when we pick things up again. You know, I have my own studio at home, so I'd love to do the guitars there. The thing about Nashville is, that's where Nick lives. He'd been away from home a lot, and I think he was really hoping that we'd agree to work there. We didn't have a problem with that. It's good for us to go away sometimes and be a little more focused - certainly, there are distractions when you're home. So going to Nashville and working for a week was no big deal. Blackbird is a terrific studio. Great gear, great rooms, a wonderful staff - it was a no-brainer to be there.

"Moving forward, however, we'll see. You know, Neil lives in Los Angeles, so I'm sure he wouldn't mind if we did the drums there. I want to do the guitars in my home studio. I don't know how Geddy feels about going to separate studios to do vocals and bass tracks. It's all a ways off, though. We still have a bunch of touring to do."

{PAGEBREAK}

Alex and Geddy do their best 'Guitar Hero' poses at the Air Canada Centre in Toronto, Canada last July. © Brian Patterson/Corbis

You mentioned some of the guitars you've been recording with, but what models are you using live?

"Let's see, I've got a bunch of Les Pauls, some with different tunings. I've got the 355 and the Telecaster. I've got two Paul Reed Smiths CE models - one has active, single-coil pickups, and the other is the straight CE bolt-on that I've had for 20 years or so. I think that's it."

Regarding the Les Pauls, have you made any new modifications to them?

"I haven't done anything since I got those guitars, but I've been working with Gibson on putting together a Les Paul Axcess model, which would be an Alex Lifeson signature guitar. It'll have the Floyd Rose, the piezo pickup in the bridge and single-coil taps in the volume pots. Basically, we've taken everything you could want in a guitar and we're putting it into a really true utility instrument in a fantastic platform."

You're not busting out the Gibson EDS-1275 double neck anymore, though, huh?

[laughs] "No. I think I'm a little too old for that. It hurts my back too much. Maybe next tour I'll bring it out. We'll see."

Do you have any kind of practice routine? Is there anything in particular that you work on?

"Not really. I'll just play stuff. I'll mess around with tunings and what not. If I want to work on strengthening my fingers, I might do certain little exercises - fast little funs and pulls. But generally, when I'm just playing for my own enjoyment, I'll just play. I don't play songs per se; I just…you know, I play! [laughs] There's no routine. On show days, however, I will practice for 20 or 25 minutes about 45 minutes before the show. I'll run through some leads and scales, just things to limber up my fingers."

Rush is coming out with a version of Guitar Hero video game based on the album 2112. How involved were you with Activision in the overall concept?

"They included us in the early talks about how they wanted to present the game. They wanted to take it a step further from what Guitar Hero originally was and make it more of a story-oriented game. We did some narrative stuff for it. I have to say, they were very considerate and really cool to work with."

I remember when Rush played Tom Sawyer on Rock Band backstage at The Colbert Report. You guys weren't too good at playing your own song on a game system. Are you any better at Guitar Hero?

[laughs] "No, I retired after that. I'm much better at the real thing."

-------------------------------------------------------------------------------------------------------

Liked this? Now read Rush's Alex Lifeson: "My 3 best solos"

Connect with MusicRadar: via Twitter, Facebook and YouTube

Get MusicRadar straight to your inbox: Sign up for the free weekly newsletter

Paul Rodgers singing Walk This Way with Aerosmith? Hey, it could've happened. Currently on a break from his reunion tour with Bad Company, Rodgers recently addressed the rumor that he was approached by the Boston heavyweights when it appeared that Steven Tyler was going AWOL last year.

"Well, yes, I was, actually," Rodgers told Spinner.com. "Joe Perry came up to me at another awards celebration. And he said that Steve was not really interested in touring anymore at the moment, and they were all ready to tour and that they were looking for somebody to take that slot."

Tempting as the offer might have been, Rodgers says Perry, "'You know, maybe you guys ought to rethink that.' And I'm happy to see that they're up and running now because they're a fabulous band."

Rodgers said that part of the reason for his reluctance to rock the mic for Aerosmith was that he had already done something similar with Queen, although he was quick to point out that "Queen was an exception - joining forces with an actual band that existed. Because in the past I've always formed a band and then written a whole catalog of songs for that band."

Elaborating on the subject of Queen, the singer said, "We played together at an awards show in London, and we played each other's songs. If it hadn't worked for me on a musical level - from the heart - I would have never have even gone near it. But it did work. We actually played All Right Now, We Are The Champions and We Will Rock You together, and it was just amazing. And so we thought we can do all of this as a new entity - Queen and Paul Rodgers - and we'll make it clear to everybody that it is a new entity. I'm amazed that I actually spent four years with them, which is longer than I was with Free."

Paul Rodgers singing Walk This Way with Aerosmith? Hey, it could've happened. Currently on a break from his reunion tour with Bad Company, Rodgers recently addressed the rumor that he was approached by the Boston heavyweights when it appeared that Steven Tyler was going AWOL last year.

"Well, yes, I was, actually," Rodgers told Spinner.com. "Joe Perry came up to me at another awards celebration. And he said that Steve was not really interested in touring anymore at the moment, and they were all ready to tour and that they were looking for somebody to take that slot."

Tempting as the offer might have been, Rodgers says Perry, "'You know, maybe you guys ought to rethink that.' And I'm happy to see that they're up and running now because they're a fabulous band."

Rodgers said that part of the reason for his reluctance to rock the mic for Aerosmith was that he had already done something similar with Queen, although he was quick to point out that "Queen was an exception - joining forces with an actual band that existed. Because in the past I've always formed a band and then written a whole catalog of songs for that band."

Elaborating on the subject of Queen, the singer said, "We played together at an awards show in London, and we played each other's songs. If it hadn't worked for me on a musical level - from the heart - I would have never have even gone near it. But it did work. We actually played All Right Now, We Are The Champions and We Will Rock You together, and it was just amazing. And so we thought we can do all of this as a new entity - Queen and Paul Rodgers - and we'll make it clear to everybody that it is a new entity. I'm amazed that I actually spent four years with them, which is longer than I was with Free."

Is it really a whole decade since Rated R's original release? We must admit to being taken slightly by surprise when we discovered that Queens Of The Stone Age were reissuing their breakthrough second album to celebrate ten years since its first airing.

Maybe it's hard to think of Rated R as a 'classic album' because it's aged so well. In terms of both songwriting and production the record stands up against any great rock record released in the latter half of the last decade.

Is it really a whole decade since Rated R's original release? We must admit to being taken slightly by surprise when we discovered that Queens Of The Stone Age were reissuing their breakthrough second album to celebrate ten years since its first airing.

Maybe it's hard to think of Rated R as a 'classic album' because it's aged so well. In terms of both songwriting and production the record stands up against any great rock record released in the latter half of the last decade.

September is Mr Jack's Birthday and this year the good folk at Jack Daniel's are bringing Tennessee to town with a month of fantastic giveaways and an exclusive gig featuring Jarvis Cocker, Richard Hawley, Ellie Goulding and Tennessee guitar legend Duane Eddy.

In addition to their original material all four will bring the spirit of Tennessee to life when they perform a Jack Daniel's birthday exclusive of very special collaborations themed around great Americana classics.

They follow in the footsteps of Patti Smith, Frank Black and Flaming Lips who are just some of the names to have played at previous Birthday gigs.

Jack Daniel's long standing association with music began in the late 1800's when he created a band of musicians that performed to crowds of people around the state of Tennessee, the home place of Jack Daniel's whiskey.

The prize

We have tickets for you and a friend to attend this exclusive gig, which takes place at The Clapham Grand in London on 7 October as well as a Fender guitar signed by all the artists. The prize includes accommodation and and £100 travel allowance per person.

To enter, just answer this question: In which US state is the home place of Jack Daniel's whiskey?

A. Tennessee

B. Virginia

C. Texas

Enter the competition here.

Entrants must be over 18. T&C's apply. Competition deadline is Friday 24 September.

Make Mr. Jack's Birthday a memorable one. Please drink responsibly.

For more information on the 'Tennessee Is Coming To Town' Birthday gig go to www.jacksbirthday.co.uk.

Next: read the full T&C's

{PAGEBREAK}

Brown-Forman Beverages UK, LTD - the Jack Daniel's "Tennessee Is Coming To Town" Birthday Gig terms and conditions

The promotion is open to UK residents aged 18 or over only excluding employees of the promoter, MusicRadar, their families, agents and anyone else connected with the promotion. No purchase necessary.

To enter, input your answer with your name, age, address and telephone number here.

Entries to be received no later than 24 September 2010.

Only one entry per person.

The promoter accepts no responsibility for any illegible entries or those which are delayed or not delivered. Proof of posting is not proof of delivery.

There is one prize: a one day trip for the prize-winner and one guest to London to enjoy the Jack Daniel's Birthday celebrations. The prize includes one night's accommodation in a 3 star hotel, £100 towards travel expenses per person and free attendance to the Birthday 'Tennessee Is Coming To Town' Gig on Thursday 7 October 2010 at the Clapham Grand, London.

Hotel rooms will be based on two people sharing. The hotel will be booked by The Promoter and details will be provided when the prize winner is notified. The promoter will issue a cheque written out to the competition winner for travel expenses, £200. All travel-related administration is the responsibility of the prize-winner and guests.

The performance line-up may be subject to change. The Winner [and guest] will be bound by the terms imposed by any third parties providing services as part of the prize. The Promoter cannot accept responsibility for the acts or omissions of third parties.

The prize-winner and their guest will need to confirm they are over 18 before taking up the prize.

The promoter reserves the right to select alternative winners, should the original winner and guest not validate all of their identity and age within 3 days of notification or if the original winner is unable to attend the Birthday gig.

The prize draw will be supervised by an independent person and will take place on 27th September 2010. The prize-winner will be the first name drawn at random from all valid entries.

The prize-winner will be notified within 3 days and receive further details of their prize within 5 days of verification of their age, as required above. .

The winners' details can be obtained for 6 weeks only by sending an sae to "Jack Daniel's / [Music Radar] Birthday gig prize draw", Spring PR, 12 Melcombe Place, Marylebone, London, NW1 6JJ. The prize-winner and guest may be required to participate in future publicity.

Each prize is as stated, is non-transferable and there is no cash alternative. The promoter reserves the right to withdraw or amend this promotion in the event of any unforeseen circumstances outside its reasonable control with no liability to any entrants, the prize-winner or any third party. The promoter also reserves the right to award an alternative prize of equal or greater value, should the advertised prize become unavailable for any reason. The decision of the promoter in all matters is final and no correspondence will be entered into.Entrants are deemed to have accepted these terms and conditions by participating in this promotion.

Promoter: Brown-Forman Beverages Europe, Ltd, 45 Mortimer Street, London, W1W 8HJ. Make Mr Jack's Birthday a memorable one. Please drink responsibly.

September is Mr Jack's Birthday and this year the good folk at Jack Daniel's are bringing Tennessee to town with a month of fantastic giveaways and an exclusive gig featuring Jarvis Cocker, Richard Hawley, Ellie Goulding and Tennessee guitar legend Duane Eddy.

In addition to their original material all four will bring the spirit of Tennessee to life when they perform a Jack Daniel's birthday exclusive of very special collaborations themed around great Americana classics.

They follow in the footsteps of Patti Smith, Frank Black and Flaming Lips who are just some of the names to have played at previous Birthday gigs.

Jack Daniel's long standing association with music began in the late 1800's when he created a band of musicians that performed to crowds of people around the state of Tennessee, the home place of Jack Daniel's whiskey.

The prize

We have tickets for you and a friend to attend this exclusive gig, which takes place at The Clapham Grand in London on 7 October as well as a Fender guitar signed by all the artists. The prize includes accommodation and and £100 travel allowance per person.

To enter, just answer this question: In which US state is the home place of Jack Daniel's whiskey?

A. Tennessee

B. Virginia

C. Texas

Enter the competition here.

Entrants must be over 18. T&C's apply. Competition deadline is Friday 24 September.

Make Mr. Jack's Birthday a memorable one. Please drink responsibly.

For more information on the 'Tennessee Is Coming To Town' Birthday gig go to www.jacksbirthday.co.uk.

Next: read the full T&C's

{PAGEBREAK}

Brown-Forman Beverages UK, LTD - the Jack Daniel's "Tennessee Is Coming To Town" Birthday Gig terms and conditions

The promotion is open to UK residents aged 18 or over only excluding employees of the promoter, MusicRadar, their families, agents and anyone else connected with the promotion. No purchase necessary.

To enter, input your answer with your name, age, address and telephone number here.

Entries to be received no later than 24 September 2010.

Only one entry per person.

The promoter accepts no responsibility for any illegible entries or those which are delayed or not delivered. Proof of posting is not proof of delivery.

There is one prize: a one day trip for the prize-winner and one guest to London to enjoy the Jack Daniel's Birthday celebrations. The prize includes one night's accommodation in a 3 star hotel, £100 towards travel expenses per person and free attendance to the Birthday 'Tennessee Is Coming To Town' Gig on Thursday 7 October 2010 at the Clapham Grand, London.

Hotel rooms will be based on two people sharing. The hotel will be booked by The Promoter and details will be provided when the prize winner is notified. The promoter will issue a cheque written out to the competition winner for travel expenses, £200. All travel-related administration is the responsibility of the prize-winner and guests.

The performance line-up may be subject to change. The Winner [and guest] will be bound by the terms imposed by any third parties providing services as part of the prize. The Promoter cannot accept responsibility for the acts or omissions of third parties.

The prize-winner and their guest will need to confirm they are over 18 before taking up the prize.

The promoter reserves the right to select alternative winners, should the original winner and guest not validate all of their identity and age within 3 days of notification or if the original winner is unable to attend the Birthday gig.

The prize draw will be supervised by an independent person and will take place on 27th September 2010. The prize-winner will be the first name drawn at random from all valid entries.

The prize-winner will be notified within 3 days and receive further details of their prize within 5 days of verification of their age, as required above. .

The winners' details can be obtained for 6 weeks only by sending an sae to "Jack Daniel's / [Music Radar] Birthday gig prize draw", Spring PR, 12 Melcombe Place, Marylebone, London, NW1 6JJ. The prize-winner and guest may be required to participate in future publicity.

Each prize is as stated, is non-transferable and there is no cash alternative. The promoter reserves the right to withdraw or amend this promotion in the event of any unforeseen circumstances outside its reasonable control with no liability to any entrants, the prize-winner or any third party. The promoter also reserves the right to award an alternative prize of equal or greater value, should the advertised prize become unavailable for any reason. The decision of the promoter in all matters is final and no correspondence will be entered into.Entrants are deemed to have accepted these terms and conditions by participating in this promotion.

Promoter: Brown-Forman Beverages Europe, Ltd, 45 Mortimer Street, London, W1W 8HJ. Make Mr Jack's Birthday a memorable one. Please drink responsibly.

Steve Vai has been announced as a featured performer on the autumn run of the wildly successful Experience Hendrix Tour. This will mark the first time that the all-star lineup of music greats celebrating the music of Jimi Hendrix will crisscross the US in a single calendar year.

The concert tour will launch in Pittsburgh, Pennsylvania on 26 October and hit 19 markets over the course of three weeks including Montreal, Toronto, New York, Boston, Atlantic City, Detroit, Indianapolis, Cincinnati, and other eastern and mid-western locales.

Other artists slated for the tour include many returnees from past Experience Hendrix excursions, including Eric Johnson, Kenny Wayne Shepherd, Robert Randolph, Jonny Lang, Los Lobos' David Hidalgo and Cesar Rosas, Ernie Isley, Living Colour, Chris Layton of Stevie Ray Vaughan and Double Trouble and The Slide Brothers a/k/a Chuck and Darick Campbell of Sacred Steel.

As was the case with last spring's Experience Hendrix Tour, Fender Musical Instruments Corp. is the event's lead sponsor. Participating sponsors also include Dunlop Effects Pedals, Marshall Amplifiers and Mapex Drums.

Always a special treat for audiences, special guests are expected to sit in at many of the dates, making the concerts all that much more memorable for both new and veteran Hendrix fans. Past participants have included Joe Satriani (who played all the dates earlier this year, and blogged from the tour for MusicRadar), Paul Rodgers, Hubert Sumlin, Buddy Guy, Carlos Santana, Robby Krieger and others.

Anchoring the tour is the one and only Billy Cox, the legendary bassist who met Jimi Hendrix when the two met while serving in the US Army's 101st Airborne Division. The two bonded over their love of music and later worked together in Band Of Gypsys. "It's always a great thrill and honor for me to play Jimi's music for audiences now just as it was in the 1960s," said Cox, who has been a part of all Experience Hendrix Tours. "[These concerts have] shown how timeless this music really is, and it's just wonderful that we've continued to get an infusion of new, very enthusiastic artists to participate and are able to offer the most wide-ranging Jimi Hendrix-related repertoire possible."

Kenny Wayne Shepherd, a veteran of several Experience Hendrix Tours, had this to say: "Jimi Hendrix's music has really inspired me to push the limits of my own music. He didn't observe any boundaries. He was an amazing player and a tremendous showman, so I incorporated some of his showmanship in what I do."

MusicRadar will post a dedicated tour website as soon as it becomes available. In the meantime, these are the dates for the tour:

October 26 - Pittsburgh - Benedum Theater
28 - Toronto, ON - Sony Center
29 - Quebec City, QUE - Grand Theatre
30 - Montreal, QUE - Place des Arts

November 2 - Buffalo, NY - Center for the Arts
3 - Morristown, NJ - Community Theatre
4 - Mashantucket, CT - MGM Grand @ Foxwoods
6 - Albany, NY - Palace Theater
7 - Boston, MA - Orpheum Theater
9 - Hershey, PA - Hershey Theatre
10 - New York, NY - Beacon Theatre
11 - Baltimore, MD - Hippodrome
12 - Richmond, VA - Landmark Theater
13 - Atlantic City, NJ - Caesars Casino
16 - Columbus, OH- Palace Theater
17 - Cincinnati, OH - Taft Theater
18 - Detroit, MI - Fox Theater
19 - Merrilville, IN - Star Plaza Theater
20 – Indianapolis, IN - Murat Theatre

Steve Vai has been announced as a featured performer on the autumn run of the wildly successful Experience Hendrix Tour. This will mark the first time that the all-star lineup of music greats celebrating the music of Jimi Hendrix will crisscross the US in a single calendar year.

The concert tour will launch in Pittsburgh, Pennsylvania on 26 October and hit 19 markets over the course of three weeks including Montreal, Toronto, New York, Boston, Atlantic City, Detroit, Indianapolis, Cincinnati, and other eastern and mid-western locales.

Other artists slated for the tour include many returnees from past Experience Hendrix excursions, including Eric Johnson, Kenny Wayne Shepherd, Robert Randolph, Jonny Lang, Los Lobos' David Hidalgo and Cesar Rosas, Ernie Isley, Living Colour, Chris Layton of Stevie Ray Vaughan and Double Trouble and The Slide Brothers a/k/a Chuck and Darick Campbell of Sacred Steel.

As was the case with last spring's Experience Hendrix Tour, Fender Musical Instruments Corp. is the event's lead sponsor. Participating sponsors also include Dunlop Effects Pedals, Marshall Amplifiers and Mapex Drums.

Always a special treat for audiences, special guests are expected to sit in at many of the dates, making the concerts all that much more memorable for both new and veteran Hendrix fans. Past participants have included Joe Satriani (who played all the dates earlier this year, and blogged from the tour for MusicRadar), Paul Rodgers, Hubert Sumlin, Buddy Guy, Carlos Santana, Robby Krieger and others.

Anchoring the tour is the one and only Billy Cox, the legendary bassist who met Jimi Hendrix when the two met while serving in the US Army's 101st Airborne Division. The two bonded over their love of music and later worked together in Band Of Gypsys. "It's always a great thrill and honor for me to play Jimi's music for audiences now just as it was in the 1960s," said Cox, who has been a part of all Experience Hendrix Tours. "[These concerts have] shown how timeless this music really is, and it's just wonderful that we've continued to get an infusion of new, very enthusiastic artists to participate and are able to offer the most wide-ranging Jimi Hendrix-related repertoire possible."

Kenny Wayne Shepherd, a veteran of several Experience Hendrix Tours, had this to say: "Jimi Hendrix's music has really inspired me to push the limits of my own music. He didn't observe any boundaries. He was an amazing player and a tremendous showman, so I incorporated some of his showmanship in what I do."

MusicRadar will post a dedicated tour website as soon as it becomes available. In the meantime, these are the dates for the tour:

October 26 - Pittsburgh - Benedum Theater
28 - Toronto, ON - Sony Center
29 - Quebec City, QUE - Grand Theatre
30 - Montreal, QUE - Place des Arts

November 2 - Buffalo, NY - Center for the Arts
3 - Morristown, NJ - Community Theatre
4 - Mashantucket, CT - MGM Grand @ Foxwoods
6 - Albany, NY - Palace Theater
7 - Boston, MA - Orpheum Theater
9 - Hershey, PA - Hershey Theatre
10 - New York, NY - Beacon Theatre
11 - Baltimore, MD - Hippodrome
12 - Richmond, VA - Landmark Theater
13 - Atlantic City, NJ - Caesars Casino
16 - Columbus, OH- Palace Theater
17 - Cincinnati, OH - Taft Theater
18 - Detroit, MI - Fox Theater
19 - Merrilville, IN - Star Plaza Theater
20 – Indianapolis, IN - Murat Theatre

Soundgarden bassist Ben Shepherd is speaking out and hoping to clarify reports that he is 'homeless,' insisting that his current state of "couch surfing" doesn't compare to those faced with the true hardships of life on the streets.

In the interview with Spin magazine, Shepherd, when asked where was was living, said, "Nowhere. Literally. I've been sleeping on studio couches and at friends' houses. I'm totally broke."

Shepherd went on to detail his post-Soundgarden existence of the past 13 years, admitting that he became addicted to painkillers: "My whole life seemed over," he said. "Soundgarden broke up; my other band, Hater, broke up; my fiancée broke up with me; and then I broke three ribs. I got addicted to pain pills, drank a ton, and wound up OD'ing on morphine. I was laid out in my house for five days, and no one knew it."

Earlier this year, Soundgarden reunited and topped the bill at Lollapalooza several weeks ago. Regarding the interview that is the cover story of the current issue of Spin, Shepherd released the following statement on the official Soundgarden website, stressing that he feels his words could be "misinterpreted":

"I feel the banner saying that I am homeless was merely a sensationalizing stunt done by workers at SPIN magazine to sell their story" Soundgarden bassist Ben Shepherd

Ben Shepherd's statement

"I feel the banner saying that I am homeless was merely a sensationalizing stunt done by workers at SPIN magazine to sell their story, or make it seem more exciting than it actually is. It makes me feel embarrassed for the truly homeless people to be associated at all in any way with the likes of me. I seem to have been lucky, as most of you, in never having to survive day-to-day (on the streets) anyway.

"I in no way refute what was written in the article, I say what I mean with someone else's alphabet, so it is no wonder to me that my blathering can be so easily 'shined up' or misinterpreted to whatever purpose, especially to a stranger who has no idea of my horrible humor, or my delusional ideas. There I was thinking i was on top of the world, doing what I love and GET to do -- (music I mean) -- sure I've been couch surfing but that's a far cry from the plight of many many millions of good people worldwide.

"I just don't want our loyal and most badderasser fans to be mislead, or a bad light to be shone upon my family or friends who have helped me and tried to help me get along. It would be wholly unfair of me after all this to not stand up for them. Now feck auf, thanks."

Soundgarden bassist Ben Shepherd is speaking out and hoping to clarify reports that he is 'homeless,' insisting that his current state of "couch surfing" doesn't compare to those faced with the true hardships of life on the streets.

In the interview with Spin magazine, Shepherd, when asked where was was living, said, "Nowhere. Literally. I've been sleeping on studio couches and at friends' houses. I'm totally broke."

Shepherd went on to detail his post-Soundgarden existence of the past 13 years, admitting that he became addicted to painkillers: "My whole life seemed over," he said. "Soundgarden broke up; my other band, Hater, broke up; my fiancée broke up with me; and then I broke three ribs. I got addicted to pain pills, drank a ton, and wound up OD'ing on morphine. I was laid out in my house for five days, and no one knew it."

Earlier this year, Soundgarden reunited and topped the bill at Lollapalooza several weeks ago. Regarding the interview that is the cover story of the current issue of Spin, Shepherd released the following statement on the official Soundgarden website, stressing that he feels his words could be "misinterpreted":

"I feel the banner saying that I am homeless was merely a sensationalizing stunt done by workers at SPIN magazine to sell their story" Soundgarden bassist Ben Shepherd

Ben Shepherd's statement

"I feel the banner saying that I am homeless was merely a sensationalizing stunt done by workers at SPIN magazine to sell their story, or make it seem more exciting than it actually is. It makes me feel embarrassed for the truly homeless people to be associated at all in any way with the likes of me. I seem to have been lucky, as most of you, in never having to survive day-to-day (on the streets) anyway.

"I in no way refute what was written in the article, I say what I mean with someone else's alphabet, so it is no wonder to me that my blathering can be so easily 'shined up' or misinterpreted to whatever purpose, especially to a stranger who has no idea of my horrible humor, or my delusional ideas. There I was thinking i was on top of the world, doing what I love and GET to do -- (music I mean) -- sure I've been couch surfing but that's a far cry from the plight of many many millions of good people worldwide.

"I just don't want our loyal and most badderasser fans to be mislead, or a bad light to be shone upon my family or friends who have helped me and tried to help me get along. It would be wholly unfair of me after all this to not stand up for them. Now feck auf, thanks."

Steve Ferrone during a performance by Tom Petty And The Heartbreakers in Sacramento, California, 2006. © Tim Mosenfelder/Corbis

Steve Ferrone has sat in the drummer's seat for Tom Petty And The Heartbreakers since 1994. But the British-born sticksman is still seen by many as 'the new guy.' It's a label he's grown accustomed to over the years. "I'm always the second man asked to the dance," he says, laughing. "But I'm not complaining because I've been to a lot of nice dances."

And that dance card has been full ever since Ferrone replaced the late Robbie McIntosh (not to be confused with the guitarist of the same name) in the Average White Band in 1974, right as the group was releasing their breakthrough smash Pick Up The Pieces. Over the past four decades, Ferrone's impeccable taste, timing and groove have paid off handsomely: he's been 'the new guy' for Eric Clapton, Duran Duran, Peter Frampton and The B-52s, among others, and has played on countless sessions for everyone from Johnny Cash to Michael Jackson.

Even so, when it comes to touring bands, does he mind being thought of as 'the new guy,' or even 'the replacement'?

"Not at all," he says, again chuckling good-naturedly. "I've replaced Stan Lynch in Tom Petty And The Heartbreakers. I've replaced Phil Collins with Eric Clapton. I've replaced Roger Taylor with Duran Duran. There's a few choice ones right there. No, see, these drummers have played on amazing records, and I have a tremendous amount of respect for their work. To be asked to go in and sit down and play the parts that they established, I'm flattered and honored. Also, I guess it means that, on some level, I'm that good - or at least in somebody's mind I am."

Having now clocked in 16 years as a member of Tom Petty And The Heartbreakers, currently touring behind their latest release Mojo, it's doubtful that Ferrone will be abdicating his drummer's throne to anybody else in the near future. "It's a wonderful group of people in this band," Ferrone says. "Tom and Mike Campbell are such brilliant writers. No, I'm quite happy to be a Heartbreaker." He thinks for a second. "That always sounds funny, doesn't it? I'm a 'Heartbreaker.' Of all the bands with great names, this one's right up there."

In the following interview with MusicRadar, Steve Ferrone talks about playing with Tom Petty And The Heatbreakers, along with some of the other illustrious names on his CV. He also discusses his approach to playing, and it's one which involves, oddly enough, the art of the dance.

What is general philosophy about drumming? Do you have one?

"What I like to do is feel the song - I see it and figure out what I like to call the 'light and shade.' When I was a child, I was a tap dancer, and I remember a big part of our instruction revolved the light and shade of certain routines. I see drumming the same way I see dancing. It's all dynamics.

"Because of my tap dancing, I can visualize a piece of music and feel it physically. Basically, I can sit down with a band and pretty much play a song without ever having heard it before. I'm not saying I play it perfectly the first time. [laughs] But I have a sense of the flow, the dynamics, where the choruses and verses are going. If you have rhythm - and let's face it, dancing is a great starting ground for a musician - you're usually able to know how a song should go."

I would assume this helped in recording Mojo, which is the most 'jam-oriented' album the band has ever done.

"Well, yeah, we recorded the whole thing live pretty much. Tom would come in and start playing a groove, and I'd start playing along. He didn't present finished demos or anything. The songs fell together during rehearsals. That's the way it's been with us for a while.

"Songs used to develop during soundchecks, too, although we rarely do soundchecks anymore. With the new technology like Pro Tools, we just record the sound from the gig before and adjust the levels to the next room. Soundchecks are kind of a thing of the past now."

{PAGEBREAK}

What kind of direction do Tom and Mike Campbell give you? Or do they give you free reign to come up with your parts?

"They give me free reign…until I do something they don't like! [laughs] Their music is pretty straightforward, so if I do something too complicated or come up with a groove that just won't fit - anything that gets in the way - that's when they'll say something. And then I'll say, 'Fine, I just won't do that again.'" [laughs]

When you were asked to join, what specifically did Tom tell you was the reason? What made you the right guy to replace Stan Lynch?

"He never really told me, and I never asked him. I got a call to go out for an audition, but I wasn't told who it was for. This was in 1994. So my gears were turning…'Who could it be?' It was all very top secret, you know? But then I showed up at this studio and there's Tom Petty and Mike Campbell sitting there. Well, I figured out pretty quickly who I was auditioning for."

What did the audition consist of? Did you have to play through some of Tom's hits?

"Well, I should stress that I'd worked with Mike before - he and George Harrison; in fact, I'm pretty sure that George recommended me for the gig. So we started to play You Don't Know How It Feels, and that felt pretty good. Then we listened back to what we'd played and Tom said, 'Wow, what a difference a drummer makes.' Then he turned to me and said, 'Don't worry, Steve, you've won.' [laughs] And that was it."

How have you adapted your style to the older songs in Tom Petty's catalogue? Some of the material that Stan Lynch played was quite energetic. I'm thinking of songs like American Girl.

"Yeah, well, that song speaks for itself. It has a pattern that is very recognizable and I don't really change it at all. The kick pattern, especially, is very important to play right. The song has a swing to it.

"My job isn't to re-arrange songs that are etched in people's minds. But the newer songs, the ones I've played on, they're mine, if you will. So I don't have to adapt my style to fit them; my style is already a part of them."

Who do you listen to in the band? Do you listen to Tom's vocals? Ron Blair's bass lines?

"I listen to the whole thing. I let the music fall all around me and I make it work. If Ben [keyboardist Benmont Tench] plays a nice little line, I try to leave space so it can be heard. If Tom hits a certain vocal line and really punches it, I might reinforce it, but I don't get in the way. I don't try to set the tone and the tempo of the band; I let them guide me and I keep it all together. The band works really well as a team.

"However, you mentioned vocals: I will sing along as I play. It's not just 'cause I like to sing [laughs]; it's because I'm checking the tempo. If you're shifting things around too much, particularly with songs that are so dependent on the vocals, then all you're doing is messing things up."

{PAGEBREAK}

You play with a traditional grip. Have you always done so?

"No, I started out with a matched grip, and I switched when I was about 18 or 19 years old. I remember watching this French drummer who played with a traditional grip, and I was very impressed with his ability to get all of these grace notes in. The big thing was figuring out how to incorporate the traditional grip but still have a strong backbeat. So I worked out a way to play traditional but power down the stick with my thumb - which is why I have a very messed-up thumb now!" [laughs]

Let's talk about your tenure with Eric Clapton. What was that like? What kind of directions did he have for you when it came to what he wanted from the drums?

"His whole thing was, 'Make me play.'"

"Make me play."

"Yeah, he wanted the band to kick his butt. You know, it's a hard job to be 'Eric Clapton.' He's gotta go out there every night and live up to this legend. He has all these solos to play, and he's gotta blow people away. It's a lot of pressure. So he would just say, 'Steve, go out there and play your ass off.' He looks for fire. I think he really liked being pushed. It helped keep him on his toes, I think."

Playing with Eric, you performed material from all of the eras of his career. How did you handle the Cream material? You and Ginger Baker have styles that couldn't be more different.

"Absolutely. I would just sort of grab it and make it mine. I played Sunshine Of Your Love totally different. I took a hint of his groove, but there was no way I could match what he did. I didn't even try.

"All drummers have their own particular quirks - some you try to work with and others you can't. When you're talking about somebody as flamboyant on the drums as Ginger Baker, there's no way you can play like him.

"The point is to take the essence of what he did and use that. Again, Eric's whole thing was, 'Play with fire, Steve. Give me everything you've got.' He didn't want his musicians to play it safe. And you can still play a groove and be non-flashy while giving the music everything that's inside of you. Sometimes that's the hard part - playing with heart but not making it all about yourself."

{PAGEBREAK}

On a somewhat related note, you played with both Eric Clapton and George Harrison when the two toured Japan together in 1991. It was basically Eric's band backing up George.

"That's right. What an amazing time."

OK. How hard was it, when playing Beatles songs with George, not to try to re-create Ringo's parts?

"I didn't really think about it. George told me what songs to listen to, I listened to them and we played them. What I did was what I always do: I listen to the song, I get the groove, I figure out the key elements and then I do my thing."

How was George to work with?

"Oh, he was wonderful. What can I say? He was a great guy. A tremendous human being. I walk past his star on Hollywood Boulevard a lot, and every time I do I say, 'Hey George, how ya doin'?' What a sweet man he was."

One other mega-famous artist you worked with was Michael Jackson. Tell me about that experience.

"Oh, it was great. I was hired to play on a couple of songs, and one of them was Earth Song. I was working with the producer Bill Bottrell. So we're in Westlake Studios in Los Angeles, working on the song, and I turn around and there's Michael Jackson. It's like he materialized right next to the drum kit."

Wow. What do you say? "Hey Mike"?

"Yeah, basically. [laughs] And what was funny was, he looked at me and said, 'Steve, can you dance?' And I go, 'Well, are you asking?' [laughs] Maybe he could tell by the way I played, I don't know.

"What was interesting about doing that song was that Michael wanted me to play electronic drums - that was the big thing in those days. And I said, 'Michael, the song is called Earth Song. You've got to have real drums on there.' I could tell he was hesitant, but we cut a deal to do it both ways.

"He listened to the electronic drums and liked them, and I could tell he was about to go with that track, but I reminded him about our deal. So I went in and cut the same track on acoustic drums. He listened back and started movin' around, going, 'Yeah, yeah! That's it.' And that's when I told him, 'There you go, Michael. Now you've got a true Earth Song! [laughs] The acoustic drums won out in the end."

--------------------------------------------------------------------------------------------------------

Liked this? Then read Mike Campbell on 30 years with Tom Petty And The Heartbreakers

Connect with MusicRadar: via Twitter, Facebook andYouTube

Get MusicRadar straight to your inbox: Sign up for the free weekly newsletter

Kanye West: readily gives the gift of music (© Kevin Estrada /Retna Ltd./Corbis).

Rapper and record producer, Kanye West, is flaunting his generosity by making a new song available, free of charge, each Friday until Christmas.

The superstar claims he sees the music industry 'completely different now', and has decided to christen his new weekly bout of kindness 'Good Fridays'.

See Me Now, featuring Beyonce, is available now over on Kanye's site.

(via Fact)

Kanye West: readily gives the gift of music (© Kevin Estrada /Retna Ltd./Corbis).

Rapper and record producer, Kanye West, is flaunting his generosity by making a new song available, free of charge, each Friday until Christmas.

The superstar claims he sees the music industry 'completely different now', and has decided to christen his new weekly bout of kindness 'Good Fridays'.

See Me Now, featuring Beyonce, is available now over on Kanye's site.

(via Fact)

SoundCloud has today treated its ever-growing online community to a volley of new features that enable them to find, create and promote music easier than ever.

Fundamental to these is tightened support with Creative Commons, the free licensing company, allowing visitors access to CC-licensed tracks through a dedicated homepage, subsequently boosting the already vast content of SoundCloud's community.

The partnership means music makers can take advantage of tens of thousands of free-to-use samples, whilst also having the option to achieve complete control of their own tracks' sharing and reuse capabilities by contributing audio that utilises CC's free licences.

To add to this, SoundCloud has also developed advanced search options that allow visitors easier access to specific music genres, tags, track types and more, making audio easier to find, and to be found.

With these thoughtful new additions, it seems that SoundCloud is becoming a very strong tool for audio creativity, giving music-makers access to all they need to instigate invention.

For more info visit SoundCloud.

SoundCloud has today treated its ever-growing online community to a volley of new features that enable them to find, create and promote music easier than ever.

Fundamental to these is tightened support with Creative Commons, the free licensing company, allowing visitors access to CC-licensed tracks through a dedicated homepage, subsequently boosting the already vast content of SoundCloud's community.

The partnership means music makers can take advantage of tens of thousands of free-to-use samples, whilst also having the option to achieve complete control of their own tracks' sharing and reuse capabilities by contributing audio that utilises CC's free licences.

To add to this, SoundCloud has also developed advanced search options that allow visitors easier access to specific music genres, tags, track types and more, making audio easier to find, and to be found.

With these thoughtful new additions, it seems that SoundCloud is becoming a very strong tool for audio creativity, giving music-makers access to all they need to instigate invention.

For more info visit SoundCloud.

SoundCloud has today treated its ever-growing online community to a volley of new features that enable them to find, create and promote music easier than ever.

Fundamental to these is tightened support with Creative Commons, the free licensing company, allowing visitors access to CC-licensed tracks through a dedicated homepage, subsequently boosting the already vast content of SoundCloud's community.

The partnership means music makers can take advantage of tens of thousands of free-to-use samples, whilst also having the option to achieve complete control of their own tracks' sharing and reuse capabilities by contributing audio that utilises CC's free licences.

To add to this, SoundCloud has also developed advanced search options that allow visitors easier access to specific music genres, tags, track types and more, making audio easier to find, and to be found.

With these thoughtful new additions, it seems that SoundCloud is becoming a very strong tool for audio creativity, giving music-makers access to all they need to instigate invention.

For more info visit SoundCloud.

Many people associate Randall with its artists. Dimebag was a long-time user of the company's solid-state amps and co-designed the Warhead. Likewise, Kurt Cobain used a solid-state Commander to record Nirvana's debut, Bleach.

But Randall knows a thing or two about valves, too (take Kirk Hammet's use of his RM120KH to inflict crippling high-gain tone), and is now offering its pure valve designs at a more affordable price with the RT Series, a family of traditional valve amps aimed at valve first-timers.

There are four amps in the range: a 50-watt, two-channel head and combo, and a pair of three-channel heads available in a 100 or 50-watt format. The latter RT503, our review model, gives you the full three-channel design (clean, OD1 and OD2) with separate EQs per channel for a more manageable output level.

It comes fitted with a pair of US staple 6L6 output valves, but these can be swapped for EL34s if you're after a more British flavour. Biasing valve amps is usually best left to the experts, but the Bias control on the back of the amp lets you replace, swap and bias the valves yourself.

Randall's clean sound has been divisive, but the RT's dedicated clean channel goes some way towards remedying this. Boosting the preamp all the way for pushed sounds can get fizzy; it's better to let the 6L6s do the work by keeping the preamp gain below three-quarters and pushing the power section. The reward ranges from spiky funk with our Strat's singlecoils, up to a slightly driven jangle with humbuckers.

The clean channel's bright switch is subtle, but once you've cranked the output you'll notice the extra bite. Tipping OD1's gain control just above zero results in a solid 'in between clean and dirty' tone. Above this things get progressively heavier with almost enough gain for metal at the top.

Select OD2 and you might as well don a poodle wig, bust out the pentatonics and write an album that becomes known by its sleeve colour. This is 'Tallica territory. Where OD1 is fairly wide and open sounding, OD2 is tighter, meatier and, to our ears, more scooped.

The sub £1,000 price bracket has become a regular stomping ground for amp builders. While this amp does an admirable job of providing a range of sounds for different genres, Randall's heritage rightly implies a penchant for the heavier end of the spectrum, and the RT503 seems happiest when you really allow it to wail.

Few guitar brands evoke old-world images like Epiphone. The Epiphone story started late in the 19th century when a luthier and violin maker named Anastasios Stathopoulo, the son of a Greek timber merchant, moved his family to New York in search of a better life.

The 'House of Stathopoulo' was opened in 1873 producing lutes, violins and other instruments. In 1910 Anastasios drafted his 17-year-old son, Epaminodas (also known as 'Epi') into the company. The instruments produced from thereon took the son's name and Epiphone began its road to worldwide success and notoriety.

Internal problems in the mid- 1940s led to financial problems for the company, which by this time was losing ground to the likes of Martin, Rickenbacker, Fender and Gibson. A brief phone call from Epiphone's owner, Orphie Stathopoulo (younger brother of Epi) to Gibson's general manager, Ted McCarty, led to Gibson taking control of Epiphone in May 1957 for $20,000.

Under new ownership, existing product lines were relaunched while budget-conscious versions of Gibson products were introduced to the range. The formula was a winning one and with the help of Messrs McCartney and Lennon, who were users of Epiphones during The Beatles' early years, Epi took on the world.

Famously, the world's most played, heard and covered song ever, Yesterday, was written and recorded using an Epiphone 64 Texan. Further consolidating Epiphone's acoustic credentials, McCartney authorised the release of the Paul McCartney 1964 USA Texan in 2005, a limited run, identical slope-shouldered dreadnought. It's reported that McCartney genuinely couldn't tell the difference between the limited editions and his own guitar.

On review here is a more affordable version of that same guitar. Epiphone is seeking to offer a vintage-style model with traditional appointments.

Since its introduction in 1958, the Epiphone Texan has been used by a number of high profile musicians including Peter Frampton, Noel Gallagher and, of course, Paul McCartney.

The new 64 Texan is a visually striking guitar. The silver 'E' fitted to the big-block pickguard, the reverse bridge, the slope-shoulders and mother-of-pearl parallelogram fretboard inlays all give this guitar an air of familiarity. Opening the case gives the same feeling as meeting up with an old friend that you haven't seen for 20 years.

Slope-shoulder dreadnoughts have a slim waist, which often leads to a more balanced tone with a clearer mid-range as well as being bell-like in shape. Structurally speaking, the 64 Texan is a well-balanced guitar and very comfortable to play.

The solid spruce top has an aged, antique hue to it that contrasts well with the bright, near-orange, mahogany back and sides of the guitar. Rosewood has been used for the fingerboard and reverse-style bridge, which holds a compensated Tusq saddle.

The two-piece mahogany neck is the same sixties-style Slim Taper D shape as the DR-500, though Epiphone has chosen to finish it in a high-gloss. This is a shame as the speedy feel of the slim neck is compromised by the 'slower' gloss finish, and we can't help thinking that a satin finish would have been a better choice.

We particularly like the headstock shape. Though not immediately obvious, the headstock flanks have been subtly shaped to create layered contours. Vintage-style 14:1 ratio tuners are fitted with classic, oval-shaped cream buttons. The overall aged look to the guitar is underlined by Epiphone's use of the original 1960s blue rectangular soundhole label.

Shadow provides the powering with a Sonic NanoFlex low-impedance, undersaddle pickup. The preamp's controls include volume, bass and treble disc-rotaries and the unit is mounted just within the upper side of the soundhole.

Though its positioning is discrete, we found it somewhat awkward to access. Adjustments to the controls require the guitar being flipped upside down close to your face (Hendrix playing with teeth-style) to be able to locate the correct rotary - not ideal for adjustments on the fly.

The preamp is powered by two 2032-type lithium batteries, and a useful LED battery indicator lights up 30 minutes before they are due to expire.

Overall the 64 Texan is a well presented guitar with no real concerns over construction standards or quality control.

Sounds

With a powerful mid-range, the 64 Texan packs bags of punch, volume and clarity if not character. While the string spacing isn't particularly suited to it, finger-style benefits from a full, precise output, while the overall tone lends itself to percussive, choppy chord work.

The plugged-in tone is similar in character to its acoustic voice. The Shadow electronics throw out an in-your-face rasp well-suited to a duo/band setting. With plenty of volume and midrange, single note runs and solos ring out clearly.

In terms of tonal versatility, we found it difficult to warm things up a little, even when rolling the treble right off. While not being all things to everyone in terms of tone, what the 64 Texan does, it does well.

Epiphone, as ever, has produced a great vintage-looking guitar that benefits from a little modern technology. It might not be the most flexible guitar on the market, but what it does, it does well. And for excellent value for money too, so what's not to like?

The X-Patch is a very straightforward 16-by-16 analogue routing matrix, with enough little extra features to satisfy most needs straight out of the box.

Outwardly it's deceptively simple. The front panel sports a power switch, inputs for channels 1 and 2 (either jack or XLR) and outputs for channels 1 and 2 on XLR. The rear panel has four 25-way D-Subs handling the 16 channels of audio ins and outs, an Ethernet socket to connect to your computer, two MIDI ports - one in and one out - and a five-pin DIN socket for the external power supply.

Having got it all connected, the next thing to do is to install the supplied software onto your computer and get the two talking, which can be in done one of two ways. If you only have one unit and aren't on a network, a straight Ethernet cable between the two will suffice. If you're on a network or want multiple units connected, you will need an Ethernet hub.

Either way works, and both are pretty straightforward to set up using the clear instructions in the online manual.

Chain reaction

Next, you need to setup your input and output sources. Opening the Setup menu, you can select channels and simply write in the names of all devices you have connected.

For each separate in and out, you can set a nominal level of either +4dBu or -10dBu, meaning that you can mix and match pedals and domestic level devices with professional line level devices. This is very handy if you want to use pedals as part of your input chain, or just have a pedal on an insert point, without having to worry about gain compatibility.

There are three buttons in the centre: 'Unlink', meaning that the input and output are unrelated; 'Device', denoting a unit through which the signal would pass (such as EQ, compressor or delay); and 'Insert', denoting an insert point.

The main Edit page allows you to route devices directly to one another either individually or via chains of up to six devices, which you can store and name individually.

In the centre of the Edit page, you have 16 inputs with pull-down menus from which to select the source that feeds them. As you connect devices together, their outputs are greyed-out on the menu to tell you that they are already in use or are part of a chain that's in use.

Patch work

We set up a mix of pedal board, EQs, compressors and DAW ins and outs for our test. At the bottom of the screen is the Chain Editor. You select a chain to edit in the left-hand column, pull in up to six devices, save it and give it a name. You can then save this as a preset (in the right-hand menu) and name it.

As you build up a list of chains and presets, you can have complex setups available at the touch of a button. Once you have your presets programmed, you can switch between them using a simple MIDI patch switcher, making it really useful live.

This, coupled with the fact that it accepts -10dBu, makes it a very competitive alternative to an expensive custom pedalboard - the flexibility of its patching options, puts it way beyond many we have seen. SSL have certainly thought this one through.

Sonically, like all of their SuperAnalogue devices, it is excellent. The simple design and excellent user interface make it really easy to get to grips with, and the flexibility it offers in setting up complex patches can save huge amounts of creative time.

If you don't already have a patchbay, you may find you never need one; if you already have one, you will find yourself using it a hell of a lot less. We can't wait!

There's little doubt that Line 6's Variax was one of the most talked about guitar introductions of the past decade - the world's first digital modelling guitar. But a major criticism of Variax wasn't the technology, but the guitars themselves.

While they were perfectly functional, they looked odd without magnetic pickups and felt rather ordinary - a stark contrast to the onboard technology. Over the past three years, however, a new 'Mark II' iteration of the Variax was being slowly planned.

This time the guitar side of things has been designed by noted LA boutique luthier James Tyler, leaving Line 6 to improve and update the technology. This is reflected in the guitar's name, James Tyler headstock logo and a more prominent gold-edged, black Variax logo - the only Line 6 logo appears on the battery compartment's cover.

The result is seven guitars: four USA-made models (of which we have a pre-production JTV- 69US on review) and three Korean-made models.

"Tyler's superb neck work is well known. Here a one-piece quarter-sawn maple neck is topped off with a dark slab of rosewood."

Tyler's guitars are some of the most sought after in the world, but these USA-made guitars aren't made by James. "The necks and bodies are made by Wildwood Manufacturing in northern California," he explains. "They get painted by Fausto at Reyes Painting in southern California, then assembled, set-up and QC'd by Tim Wilson, who ran the Jackson shop for 17 years."

Stylish and close to a Strat in overall length and width we get an off-set Jazzmaster-ish curve on the lower bout with a more angular forearm contour on the face - it's no belly cut, just some generous rear edge radiusing. The heel area is nicely shaped and chamfered, the neck firmly held with four recessed screws.

Tyler's superb neck work is well known. Here a one-piece quarter-sawn maple neck is topped with a dark slab of rosewood and 22 finely polished jumbo frets (approx 2.75mm wide x 1.45mm high). The fingerboard edges aren't as heavily radiused as a typical Tyler, but are far from sharp; the thin satin coating feels almost like a smooth oil finish.

"The neck back shape is my standard '59' shape," confirms Tyler. It's a very 'old Fender' big 'C' shape with a hint of 'V' in the shouldering, which always makes a neck feel thinner than it is.

"Players seem to really like that neck. Since the feel of the neck is one of the most important things about a guitar, I figured that it was a no-brainer to put a proven neck shape on these guitars."

The two-post floating vibrato is custom-designed by Tyler too - it has a steel top plate and 'L'-shaped saddles that hold the newly designed LR Baggs piezo elements, which take the string's signals into the digital realm.

The strings top load into individual keyhole slots - they don't pass through the zinc inertia block in usual Strat-style. Hipshot provides the lightweight, staggered-post Grip-Lock locking tuners. Unlike the Mark I version we get a trio of magnetic pickups controlled by the knurled volume knob and tone controls that will, on the final production samples, be Korean-made to Tyler's specs.

A five-way lever switches them in standard Strat fashion (positions two and four are hum-cancelling; and in position two, bridge and middle, the humbucker is split to voice the forward slug coil only).

On the back we have a flip-top compartment for the lithium-ion rechargeable battery (which offers 12 hours of playing time). A small push button on the edge of the flush casing allows you to gauge the battery power status via a row of small green LEDs.

"The quality of the models is excellent, they'll always sound a little different from the real thing, but they more than capture an accurate character."

A larger cover-plate hides the PCB and nest of wires passing to the outputs (a standard jack and a covered Variax Digital Interface output - you can only run both magnetic and digital simultaneously hooked up to a POD X3 processor).

The Model Selector is sited, like the singlecoils, volume, tone and Alternate Tuning knob, on the tri-laminate scratchplate. When pushed in, the Model Selector is back-lit (indicating the digital mode) and allows you to select from the 12 banks of sounds, each with five sounds in each, voiced by the five-way pickup selector. When you push the Model Selector again, or initially plug in, only the trio of magnetic pickups work, along with the five-way, volume and tone controls.

Previously, any altered tunings had to be created via Line 6's Workbench software (now included with every new Variax). The Alternate Tuning control, again back-lit, scrolls through 12 modes - 10 alternate tunings plus Standard and Model (for a full run-down of the guitar's models and tunings visit the Tyler Variax site).

The tunings can be user-overwritten via the 'virtual capo' feature but, "every model can have its own alternate tuning programmed outboard via Workbench," says Line 6. "Set to Model, the Alternate Tuning knob lets you access these alternate tunings; set to Standard, the knob overrides it to set every model to standard tuning."

Internally, the Variax features a new dual-core processor that provides "richer and more authentic-sounding models." Line 6 has worked with LR Baggs to improve the piezo elements within the bridge, not least the piezo 'clang' that was noticeable, especially at high volume levels.

Korean Deal

Alongside the USA-made Variax guitars are three models made in Korea by World Musical Instruments (the company that makes guitars for numerous brands including PRS's SE line).

The JTV-69 replicates our reviewed guitar; the JTV-89 has a wrapover bridge and dual humbuckers; and the JTV-59 is an arched top single-cut with wrapover bridge and dual humbuckers. The technology and function of these guitars, including pickups, will be identical to the USA models.

"They're exactly the same," confirms Rich Renken. "You're not making any compromises on the sound when choosing this as your weapon."

"We've worked very hard with World Musical Instruments to achieve a high level of build quality on these guitars," adds James Tyler. "Recently, someone handed me a [Korean] candy apple red JTV-69 to evaluate and I thought it was the American model at first!"

Sounds

The new version is easier to use than ever: check your battery, plug in and play. Even without charge the magnetic pickups will still work: a low output vintage humbucker married with two modern, clean singlecoils. Excellent.

Press down the Model Selector and you enter the virtual world - 10 banks and 50 sounds (plus two additional custom banks) from some 25 classic guitars. The first thing you notice is some slight background hiss, not intrusive but it's there. Constantly referencing the digital against the magnetic sounds, you do perceive differences.

Overall the dynamics are a little more limited and bass response can sometimes seem a little clouded; conversely the high treble response can sound a little over-crisp on brighter sounds.

But the quality of the models is excellent, they'll always sound a little different from the real thing, but they more than capture an accurate character and there are some excellent sounds onboard.

The really difficult areas are the altered tunings and 12-strings, which use sophisticated pitch-shifting. The electric 12s sound less processed to this writer's ears than on Mark I Variax (and, of course, are much easier to play and tune than the real thing) but you do hear some slight pitch chasing and again your playing technique needs to be firm and spot-on.

The Variax doesn't physically retune your strings - they stay in standard pitch, but when you apply an altered tuning, via pitch shifting, the outputted sounds are in the new tuning.

If, for example, you just want to add a Stones tune to your live set (or a Stones-y intro then return to standard tuning), Blues G works great. Dropped D with loads of gain is going to satisfy the modern rockers and a couple of DADGAD tunes in a Zep-style are easily possible.

The baritone setting really stretches the technology, and does sound the most synthetic, but if you just want to add some overdubs to your Americana tune, you'd probably get away with it. You can apply these tunings to any of the models, including the 12-strings.

A modern H/S/S solidbody with floating vibrato and electric strings is about as far as you can get from an old flat-top, so it's little surprise to hear a lot of zing on the acoustic tones. Adding an LR Baggs Venue DI and tweaking the sounds creates far more realism.

Our Fishman acoustic amp and the Baggs DI also works well with jazzier electric sounds: bluesy Kenny Burrell-type tones with the ES-175 models and a really evocative Epiphone Casino neck pickup model. Be in no doubt, there are an immense amount of usable sounds here.

Overall, our impression is more than positive. The modelled sounds just seem better, likewise the acoustics, 12-strings and altered tunings. It's a great guitar to play, stays in tune perfectly and is easy to use.

Dislikes? The back-lighting on the Model Selector and Alt Tuning knobs is fine in darker environments, less so on a bright or outdoor stage - you may have to shield the knobs to double check whether you're in digital or magnetic modes. But this is a small price to pay for such a fantastic instrument.

Variax has definitely grown up. This JTV-69US platform is a very credible guitar in its own right, a lot better than the previous guitars and, save for the additional Alt Tuning and Model Selector knobs, looks very conventional.

The new battery system is a godsend and internal improvements have clearly raised the quality of models and the switching functions, which are very fast.

In its USA-made incarnation it will have limited appeal unless you really understand its potential and could justify it as part of your earnings. The Korean version is where most interest will be and, although we have to reserve judgement until we've played those, if you're someone who appreciates and needs a variety of sounds for your recordings or live performances, we'd suggest you start saving…

The Telefunken R-F-T range has been developed to offer this iconic brand at a more affordable price by using what are coyly called 'off-shore' components.

In the case of the AR-51, this means that the diaphragm and power supply are made off-shore, tested in the US and combined with a new-old-stock ECC81 valve-based amplifier and the same transformer as found in their C-12 and ELA M 251E models.

As a hybrid design, the AR-51 - looking like a slightly squat C-12 - has been branded a 'utility' mic and, as such, escapes the expectations of a direct vintage facsimile. Even though it's only 20% of the price of a reissue C-12, at £1,500 it's still no impulse purchase.

Supplied with shockmount, power supply, IEC cable and 5m mic-PSU connector, the mic itself is weighty, though not too challenging for standard mic stands, and engineered to a very high standard inside and out. The shockmount is simple but, again, of the standard expected from a high-end mic.

Tele tone

When Telefunken say it's a utility mic, they really do mean it - we found nothing that the AR-51 sounded bad on, and for many sources it really shines. The tone is classic smooth condenser: never sounding exaggerated or scooped, always allowing the reality of the source to come through unmolested.

The proximity effect performance is excellent - vocals, particularly deep male voices, come forward without booming. On guitar amps the same is true, with no low-mid-mush, even right up close.

In the aforementioned roles, the smooth response extending across the mid and high frequency ranges manage to balance presence and airiness without over-articulating sibilance or hyping the 10kHz+ range. The nine pickup patterns provide all the variation one needs without becoming nasal around cardioid/super-cardioid.

The well-balanced frequency response keeps the foreground/background relationship intact in omni mode and still manages to focus on the forward position on tighter patterns without becoming uneven.

The clear low-mid articulation can create the illusion of the AR-51 being a tad bass-light, but there's plenty of low-end extension: it's just not as scooped as on some mics. This even tonal balance makes the AR-51 a rare candidate for corrective EQ, and yet provides a rich source for creative tone shaping.

Performance mic

Transient response is excellent, easily capturing percussive sources realistically across a wide dynamic range, from the subtlest snare ghostings to the most intense floor tom wallops. There is no pad control, but the relatively low output gain (~10dB down from my main valve condenser) means loud sources don't require padding.

Despite this, there's enough low noise output to capture quiet sources with a standard 60dB range preamp. The sheer quality of this mic means that £1,500 is a reasonable price to pay considering that it will easily fill that 'lead vocal' spot in a mic collection.

There are a lot of mics in this price bracket - all promising some small variation on classic designs - and many have performance qualities that it's hard to fit a cigarette paper between. Even so, the AR-51 more than deserves the place it will be afforded on the basis of the Telefunken badge it carries. ...

There's no shortage of retro fuzz pedals around these days, so your choice boils down to whether you prefer the thin, raspy Tonebender or the thick, flutey Fuzz Face. Conveniently, the Fire Red Fuzz does a bit of both!

It's a case of two obvious controls (volume, fuzz) and a tone control with hidden depths. Here, the tone control produces that mellow liquid fuzz in the anticlockwise position, cutting the mids slightly at 12 o'clock and then producing a thinner, raspy fuzz at the clockwise end.

Sounds

Although initially wary of a 'jack of all trades' pedal, we were instantly impressed by the range of sounds on offer.

High-fuzz settings with the tone control turned anti-clockwise aren't as squishy as some fuzz pedals, but you can still get that endless horn-like sustain with a Strat's neck pickup.

The middle position on the tone control is less interesting, as the mid cut makes it sound a bit too much like a regular distortion pedal. But the groovy sixties fuzz credentials return at the upper end of the tone control's range, with some cutting sounds reminiscent of The Yardbirds.

Maxon was responsible for the design and manufacture of many Ibanez products until early 2002, including the original TS-808 and TS-9 Tube Screamers.

The Overdrive Pro features a similar overdrive circuit, but can also be used as a clean boost, outputting clean signal only when the drive knob set is at zero.

Sounds

Featuring very smooth valve amp style overdrive, the OD-820 will drive your amp and dirty up your sound without changing your tone unless you want it to – the tone control giving you ample variation in presence and top- end to help solos cut through.

The DS-830 is a distortion pedal that also features adjustable bass and treble controls. The Distortion Master has a claimed 59dB of boost available via its gain and level controls.

It's a large, very solidly built pedal like the rest of the series, but Maxon says that the size is necessary to optimise component positioning to minimise noise and colouration.

Sounds

There's a great range of punchy distortion on tap here of the sort that can make a small amp sound like a cranked stack, especially with the bottom end beefed up with the bass knob - the two tone knobs, in fact, offering a wide tonal range.

The DS-830 is a distortion pedal that also features adjustable bass and treble controls. The Distortion Master has a claimed 59dB of boost available via its gain and level controls.

It's a large, very solidly built pedal like the rest of the series, but Maxon says that the size is necessary to optimise component positioning to minimise noise and colouration.

Sounds

There's a great range of punchy distortion on tap here of the sort that can make a small amp sound like a cranked stack, especially with the bottom end beefed up with the bass knob - the two tone knobs, in fact, offering a wide tonal range.

Designed from a brief that stipulated true analogue circuitry, low noise and versatility, the CS-550 has a built-in compander to eliminate unwanted noise and features four-knob operation.

Sounds

Adjustable delay time (which changes the shifted frequency) combined with standard speed and depth controls provides a wide range of sparkle and swirl from classic chorus, rotary speaker emulation and lush vibrato.

Meanwhile a tiny, tucked-away mix control determines the level of effected sound versus the dry signal, so you can have standard chorus pedal operation or blend in really subtle amounts of chorus.

Building on the legacy of the respected AD-900, the AD-999 Analogue Delay offers a massive 900ms of true analogue delay delivered via eight BBD chips.

Like all of the vintage series, it has a 4PDT mechanical switch for noise-free bypass operation and runs on 9V DC for easy integration into standard pedalboards.

Sounds

The AD-999 offers a versatile range with plenty of variation, from metallic reverbs and rockabilly slapbacks up to much longer delays than most comparably priced analogue competitors are capable of. All with repeats that melt into your sound as they decay. Gorgeous.

Reason has been a firm favourite of ours since its original release a decade ago. Not just a virtual studio in concept, it offers a literal representation of a traditional MIDI studio, revolving around a simulated rack to which a huge range of devices can be added.

Effects, synths, samplers, drum machines, mixers - all can be dropped into the rack and connected as you see fit by flipping around to the rear of the units and plugging virtual cables into their I/O ports. Sequencing is pretty much the only part of Reason that's not tied to the rack.

"Ultimately, Reason's restricted nature is also its strength."

Unlike almost all modern music applications, there's no third-party plug-in support - and there likely never will be, although you can connect Reason to other apps via the ReWire protocol.

Now Reason 5 is here, and following what seemed like an eternity tinkering with the restricted beta build, we're finally in possession of the finished, boxed version. But is it really any good? And are there any hidden drawbacks? That's what a review aims to uncover, so let's get to it…

If there's one new feature that has our pulses pumping the most, it's the Kong Drum Designer. Each of its 16 pads can control any of 16 drum channels, each of which holds its own sound source module.

The one you'll probably use most is NN-Nano, a stripped back version of the NN-XT sampler. The other modules are Nurse Rex (a mini Dr. Rex) and seven synthesisers.

Tip of the hat

Each pad can be assigned to any drum channel and also bound to one of four 'hit types'. Sound modules respond to these; for example, Synth Hi-hat offers closed, open and two intermediate positions.

NN-Nano's hit types, meanwhile, are four discrete multilayered setups. For Nurse Rex, hit types can fire off a loop, slice or slices. There are also pad-level Link and Alt group, level, pan, tone, decay and pitch controls, and two external sends and internal Bus FX send.

Oh, and then there are the effects! Each pad has two slots, for one of nine effects or an additional tone or noise generator. Our favourite is the Overdrive/Resonator, but the Rattler comes a close second. We'd like to have the effects in the Reason rack too, but for now, you can route signals through Kong.

There's also a send effect slot (eg, for reverb/delay) and a master slot for compression, etc. The small Q buttons positioned adjacent to most of Kong's parameters select them for Quick Edit mode, whereby all 16 pads display relevant controls. For example, hit the Q button next to the Pan/Level knobs and each pad turns into a mini X/Y pad for instant editing of pan and level.

It's a fabulous system. There are a few omissions, though: when loading multiple layers, there's no automatic velocity mapping, and Kong lacks the seemingly obvious per-pad delay/offset function. But overall, it strikes the right balance between power and immediacy, and on the back panel, you'll find every connection you might need.

Different drum

In addition to its sample-based drum modules, Kong offers seven synthetic ones. Physical Tom Tom, Snare and Bass Drum mimic real instrument sounds using physical modelling, while Synth Bass Drum, Hi-hat, Tom Tom and Snare ape classic synthesised drums.

It's a surprising inclusion given the huge number of sample banks on offer and the realism that multisampling affords. Surely you've already got all the drums you want with samples? Well, not quite.

The ability to tailor each drum sound to the rest of your track is every bit as fun and useful as being able to edit synth patches. Of course, this requires a lot of tonal control - and Kong has plenty. Physical Bass Drum, for example, has no less than nine sound-shaping parameters, taking in things like beater density, tone and even shell level. You can get lost for hours designing drum kits and adjusting them in real-time.

So how do they all sound - can they compete with samples? Well, the three physical modelling drums are rather impressive, offering a truly different and useful approach to real-sounding drums.

With judicious tweaking of settings, they can be very convincing, particularly in conjunction with the two effects slots. As for the synth drums, these recall the unashamedly unrealistic tones of old school drum machines (as do the physical modelled drums, on extreme settings) and quickly prove their worth when let loose on a project.

It's only a shame that you can't save individual drum module presets, although you can save entire banks.

The other new device is Dr. Octo Rex. This backward-compatible replacement for Dr. Rex allows up to eight loops to be loaded at once. However, the variations you can now achieve with a single loop can make you forget you have eight to play with!

Sampling made simple

Despite Reason's 'racks full of virtual gear' approach, previous versions couldn't sample audio directly like old school hardware samplers. That's all changed with Reason 5. Simply click a button on NN-Nano, ReDrum, NN-XT, NN-19 (we still love that Paul Hardcastle reference) or hit the icon in the Tool window to record your external source.

"Blocks might sound simple, and, well, it is - that's the point."

With the recording made, open the sample editor, which is at once both basic and beautiful. Start, end and loops points are set with the mouse, as are fades and normalisation. You can trim samples based around chosen start and end points, and snap these points to transients.

Once you've recorded and edited your sample, you can save it for use in any suitable playback device in Reason - complete, rather usefully, with its loop setting (one-shot, forwards or forwards-backwards).

One-click copying is another great feature, allowing quick variations to be saved. Like magic, Reason has gone from having no sampling functionality whatsoever to having perhaps the quickest tools of any DAW on the market. We challenge you to go from recording and editing a sample to playing it in a device in less time with anything else out there.

Rock around the Blocks

Perhaps the best feature debuting in Reason 5 is Blocks. This is a way of defining blocks of arranged material, ie, clips and automation. They appear in the sequencer as a single track, and you can define and use up to 32 blocks. One might be an intro, another a chorus and so on.

Blocks might sound simple, and, well, it is - that's the point. It's powerful, though, and could revolutionise the way you approach arranging. It makes reusing great edits easier than ever and lends a compositional spontaneity that - of all the major DAWs - only Live can match, while managing to be better for sequencing.

Anybody who tries Blocks will miss it terribly whenever they use any other sequencer - it's that good.

One thing we'd like to see, though, is the ability to highlight a section of arrangement and have Reason automatically create a block from it. You can do it manually, but there should be a more immediate function.

Reason's Factory Soundbank has always been a useful resource, if not particularly extensive or inspirational. For v5, Propellerhead have called on a who's who of sound designers, including heavyweights like Adam Beyer (techno superstar), the Bomb Squad (legendary Public Enemy producers) and Printz Board (musical director of the Black Eyed Peas).

There are drum banks, loops and more, totalling 1.5GB, with some genuinely great material to be found. Reason 5's newfound ability to lock controllers to specific devices shouldn't be overlooked.

Elsewhere, there are more enhancements than we can list. The most obvious is a coming-of-age makeover. Reason and Record now share an almost identical aesthetic, with many control sections made slightly larger and more clearly delineated.

The transport bar is improved, with larger level meters and a Tap Tempo button, for example. Record's virtual keyboard (use mouse or QWERTY keys) and Big Meter are also here.

All of which leads to our one major complaint. Despite all the welcome homogenisation with Record, the latter's multiple rack facility is absent, so the single column of rack devices takes up only part of a widescreen display. This oversight is as infuriating as it is inexplicable. And there are a couple of other small gripes.

For example, when we've talked about Reason in the past we've mentioned how we'd love to automate the Length control in the Groove section of the Toolbar. Playing with this in real-time yields an absolute goldmine of edits and breakdown effects, but it still can't be automated.

However, you can now at least resample such live tweaks on the fly. On the topic of sample tinkering, the vast majority of DAWs now offer some degree of built-in loop slicing, so Reason users could feel maligned at having to fork out for ReCycle on top.

Some might argue that it's time to add basic audio track functionality, too, but when you look at how little extra it costs to get all of Record's amazing functionality, and factor in the built-in sampling that Reason now offers, we think Propellerhead have got the balance about right.

One genuine grumble to round things off: we still think a comprehensive assignable key-command system is long overdue.

Reason reassessed

Minor caveats aside, how does Reason stand up in 2010? Music software has progressed immensely since it first emerged, but Reason uses many of the same devices it's always had. Can it still compete?

In short, yes. It's fair to say Reason has its own character, and while you can't use plug-ins, the built-in devices are great. The mighty Thor synth can produce everything from searing leads to bowl-breaking basses.

All of your drum needs are more than met with Kong, ReDrum and NN-XT, and there's a comprehensive range of effects processors.

Ultimately, Reason's restricted nature is also its strength. With only a few synths and a finite range of effects at your disposal, you really do get to know them inside out, in a way that very few producers bother to do now that there are so many plug-ins around.

And by eschewing third-party plug-ins, Reason is made so rock-solid that come the nuclear apocalypse, only cockroaches, scorpions and Reason will be left standing. It can run on a very modest machine, too, being one of the most CPU-light music applications we've ever used.

Most of us can benefit from using Reason as part of our setup, and as a number of name producers have shown, you can make complete tracks entirely in Reason. If you're into audio recording, it won't be for you, but perhaps its sibling, Record, will fit the bill.

For almost anybody else, whether pro or hobbyist, it's a crime not to at least try Reason. Without a shadow of a doubt, this is the best version yet - but more than that, it really does make Reason a complete proposition at last.

Reason 5 might be grabbing all the headlines, but its sibling, Record, is no slouch either. Whereas Reason is aimed primarily at electronic music styles, Record is more akin to a traditional DAW, with full-on audio recording, superb real-time timestretching and a mixer that's modelled on an SSL console, complete with bus compressor.

The free 1.5 upgrade offers up a number of persuasive reasons to upgrade, crossgrade or purchase it outright.

First and foremost of the new goodies is Neptune. Finally bringing the joys of auto-tuning to Propellerhead users, it does a fantastic job of correcting incoming monophonic audio, giving control over expression, vibrato, correction range, formant control and speed.

The result is a device that can gently smooth over vocals in myriad styles, or generate the characteristic robotic effect we've heard on almost every R&B track of recent times. It does all of this quickly and with the minimum of fuss. You can also manually play in notes with a MIDI keyboard, making for a sort of vocoder/auto-tuner hybrid.

If that's not enough, Neptune's voice synth enables you to play vocal harmonies alongside the original, even allowing chords. These can be wired to separate outputs and treated on a new channel, for full control.

And, of course, you can mute the dry signal altogether, instead playing completely new polyphonic vocal lines. A single word will suffice to sum up Neptune: awesome.

Add to this the heightened sequencing functionality introduced by Blocks, the superb new arrangement system shared with Reason, and a number of smaller tweaks, such as drag-to-timestretch (very welcome indeed), Clip Normalisation/Reverse and an expanded ID8 patch library, and you're looking at one tasty update.

It goes without saying that all current Record users should grab this update without thinking. Reason users, on the other hand, now have a greater incentive to splash out for both products.

Anybody who has experienced neither app ought to try the fully functional time-limited demos as soon as they finish reading this review. The only thing to be aware of is that Record 1.5 is not compatible with Reason 4, so would need to buy an upgrade to Reason 5 to use them together. ...

By medical definition, a lancet is a cutting instrument with a double-edged blade, so it remains to be seen whether this specialist analogue module can produce cutting-edge kicks.

While it's possible to create a kick drum sound on most analogue synths, there's a lot to be said for having a box that's tailor-made for the job. As long as the basic tone is right and options are presented in a simple way with enough room for a range of variations in style, we have a machine that will out-perform a general synth.

As is common to the majority of Vermona gear, it's all analogue circuitry inside, housed in a metal case with the distinctive '70s brown and beige colour scheme. The stylish retro finish is absolutely top-notch; the corners are folded flush and smooth, and there are no unsightly screws to detract from the impeccable styling.

Blend it

A quick tour of the unit reveals two rows of controls on the top side. The first row is for adjusting the waveform parameters: this includes essentials such as decay time, pitch, bend range and bend time.

Expanding on this, we find two additional controls for FM Frequency and FM Intensity, which are unusual for kick drums. These parameters are all for editing the single oscillator, which provides sine and square waves.

The waveform can be blended from one to the other using the Wave dial on the bottom row. You can also add white noise to the mix and boost the attack transient to give it more of a click at the front.

You've got to give Vermona kudos for adding a 'Balls' knob. We expected it to be some kind of over-the top overdrive, but it's much more subtle; it seems to thicken up the fundamental frequency and mellow the upper mids, helping the click to sit in the mix better.

Get a kick

There are several ways to get a kick out of the box. The simplest way is to press the Trig button on the front panel: tapping once produces a single kick, but if you hold it down for a couple of seconds, it turns Latch on and fires off a regular 4/4 kick at around 100bpm.

The unit is equipped with MIDI in and thru, so you can choose to trigger it through a digital sequencer. The kick is mapped to MIDI note C1 as standard on channel 1, and it responds dynamically to note velocity.

If you are used to Old Skool analogue systems, there's a 5V gate input that can be used to trigger the kick at a fixed volume, or you can choose one of the three dynamic modes to get changes in volume.

To switch the mode, you need to send a MIDI CC 84 message with a specific value between one and four.

Deep down

We measured the pitch dropping as low as 20Hz, so there's no denying that this box can output deep bass if desired. We didn't find the noise oscillator or FM features too useful for kicks, but they do help for snare-type sounds.

We did find ourselves craving fewer linear envelopes, tighter decay and the possibility of different curves for the pitch bend to vastly expand the range on offer.

Sound-wise, it's got that real analogue tone: deep, warm and furry. It does a range of useful kicks that are different to both 808s and 909s.

It's not cheap, and it only does one thing, but live on stage or in the studio, this is probably the easiest and fastest way to get high-quality analogue kicks.

The bloodiest turf wars are not fought at the top end of the guitar market, but in the gutter, as a thousand luthiers slug it out for a market share with entry-level electrics that get cheaper and better every year.

It wasn't always this way. Back in 1993, Yamaha's Pacifica range was among the first to address the needs of the common man, but far from resting on its laurels, the company is flexing its muscles with the new 212 VFM: a model that's touted as "the next step up" with the addition of a maple top. At £329, is this an offer you can't refuse?

"The effect of the maple top is subtle, but it gives the VFM an edge over the identikit basswood slabs out there."

Redesigning the Pacifica from the ground up would be pricey, so the VFM is built on the same old foundations, for good and bad. The doublecut body is still boring to look at, but gives the same great access as a Strat.

The whammy bar still needs a serious yank to get any significant wobble. The maple neck is as comfortable as ever, albeit with a radius that means playing complicated riffs on the low strings can be a bit of a stretch for players with small hands.

The Alnico-V pickup layout is the same as the 'normal' Pacifica 212 (and that's only £240). In other words, the VFM's only structural difference to its older brother is that flamed maple top.

It's relatively unusual to see this feature on a doublecut 'S-style' model, and although it's certainly less significant than, say, a Les Paul's chunky maple cap, it's attractive enough and should flavour the tone.

When it comes down to tone, the VFM is a guitar of two halves. Clean, we find the singlecoils far superior to the woolly humbucker, particularly when you run the neck and middle in combination, unlocking a classic 'Hendrix' quack.

Hit the filth, though, and we much prefer the bite of the beast that resides in the bridge, which has body and edge, unlike the distorted singlecoils, which sometimes feel a little shrill and weedy. There's also the option of splitting the humbucker, but we don't like that tone so much.

And the effect of the maple top? It's subtle, but the tonal flavour is definitely in there, bringing brightness to your riffs and giving this model an edge over all the identikit basswood slabs out there.

Time will tell if Yamaha has overstretched itself by pushing the Pacifica range towards the mid-price market, but this souped-up version represents a better return than the standard 212, with the maple top bringing a character well worth 100 sheets.

Physically and tonally, it's not quite perfect, but taken in context, it's punchy, versatile and certainly good enough to put it near the top of any young gunslinger's wish-list (especially with street price closer to £280).

So, Yamaha may no longer have a stranglehold on the entry-level market, but you'll have to prise this Pacifica out of our cold, dead fingers.

The world is awash with orchestral string collections, with all formed of mammoth sampled libraries. Other orchestral sections aren't represented in the marketplace to the same extent, but Swedish company Wallander Instruments is addressing this balance with its WIVI Instrument libraries.

Rather than samples, WIVI uses synthesized modelling techniques to produce its sounds, with a correspondingly low demand on your computer's CPU and almost immediate instrument load times.

WIVI magic

The WIVI interface is Wallander's secret weapon, as staggering amounts of variation can be controlled. To get started, simply click the '+' button in the bottom right-hand corner of the main pane and up pops a list of all of the instruments. Click to add one or drag upwards to add multiple instances of the instruments you want; these are added to the virtual stage of your choice.

There are several acoustic spaces available, with a 'man' icon at the bottom indicating your virtual listening position. Tone and reverb are shaped in real time, so you can position yourself and shift instruments around until you've created your perfect 'virtual' setup.

You can even direct instruments individually, replicating a shifting microphone placement by turning the instrument through 360 degrees until you find the sound you want, while reverb is also fully tweakable.

Control and conduct

Beyond that, you can decide whether all instruments will play back on the same MIDI channel or be spread across many, choose muted or unmuted variations, and assign controllers for vibrato and articulation - the results of which can be stunning.

Most of the excellent range of instruments sound great, with wonderful richness in the low orchestral brass a major highlight, as are the solo saxophones that, particularly when used with MIDI controllers, truly come alive.

The weakness for us is in the flute sounds, which somehow lack the required air and breath - though they do integrate well into ensemble groups.

Straight out of the box, this is an impressive instrument but it gets better still. WIVI supports scripting codes that can carry out a multitude of musically useful tasks, such as creating sequences or shifting tuning scales.

By default, the Standard Edition Player is included, but the Professional Player can also be purchased to 'unlock' additional playing techniques that will appeal to pros looking to make these collections their go-to brass and wind libraries.

The collections aren't cheap but, pro or otherwise, they deserve your attention.

Peavey's artist roster is very well equipped: Trivium, Machine Head and Bullet For My Valentine are just three of the metal stadium-fillers on its roll call who have opted to use a wall of 6505+ stacks.

Thing is, the gigging reality for most of us is jostling for space with a pool table in the cramped corner of the local, while keeping one eye on the Ford 'tour bus'…

This amp manufacturer clearly empathises with our situation, stripping the guts of its genre-defining 6505+ head and placing them in a cabinet with a 12-inch Sheffield speaker. The combo has the same two-channel/ three-mode design as the head, but you lose a 12AX7 preamp valve and a pair of 6L6GL output valves.

"This combo allows mid and high range frequencies to cut through - a plus point for un-mic'd gig situations."

Two additions to the combo version, though, are the Accutronics spring reverb and Peavey's MSDI speaker-simulated direct output (handy for recording or feeding to a PA system for bigger gigs).

In short, it's lighter, smaller and quieter than a half-stack, but begs the question: can you achieve a bowel-rattling metal tone from a 60-watt combo?

The amp's Rhythm channel defaults to a clean sound, but also has a Crunch switch that can up the gain a lot further than you'd expect. This lets you switch between clean and heavy rhythm sounds while leaving the next channel free for parts that require even more gain or volume.

The cleans aren't as crystal clear as the head version because of the drop in headroom, but this will only be a problem if you obsess over razor-sharp clean tones at the loudest volumes.

Switch to the Lead channel and you're reminded what all the fuss is about. You'll find more gain than you're likely to need, from mid-rich, high-gain hardcore, to tight, slightly scooped death metal.

When we looked at the 6505+ head, we said the 4x12-inch cab sounded a little flabby. The combo restricts this by cutting the sometimes overbearing low end and allowing the mid and high range frequencies to cut through - a sure plus point for gigging in an un-mic'd situation.

Fledgling metallers who are yet to reach bigger venues will appreciate the portability and control that a 1x12-inch combo provides, and the direct output will come in handy if you're playing the occasional larger gig.

This said, it's a shame that there are no extension cabs short of a 4x12-inch. At this price, there is competition that's better suited to a wider range of tones, but few others offer anything directed so squarely at high-gain punk, metal or hardcore sounds.

Listen to the 6505+ 112 Combo being tested over at the Total Guitar site.

Istanbul Agop is a company so steeped in the history of cymbal-making that it's something of a surprise that it is only 30 years old - it's as though the company has been around for longer.

But no, three decades it is, and to commemorate the occasion it has produced a set of anniversary cymbals: two rides and a pair of hi-hats.

Build

Begun in 1980, Istanbul Agop initially traded under the name of Zilciler. Company founder Agop Tomurcuk had been the foreman at Zildjian's old K factory in Istanbul up until its closure in 1978.

Agop's renown as a cymbalsmith meant that Zilciler cymbals - rebranded Istanbul early in the company's life - soon came to the attention of cymbal lovers. When Agop died in 1996, his two sons, Arman and Sarkis, took over the running of the company.

Though Istanbul Agop's cymbal designs have evolved in all directions it's perhaps fitting that these 30th Anniversary cymbals return to its roots by echoing the designs of vintage Ks.

Scheduled to be in production for this year only, the cymbals' numbers are further limited by the vast numbers of man hours that go into each model.

Top of a host of outstanding features are the cymbals' hand-shaped bells. Contemporary cymbal makers - including Istanbul Agop - routinely save time and labour costs by stamping the bell in a single mechanised movement. Hand-shaping the bell is a high art reserved for only the most experienced cymbalsmiths, and at Istanbul Agop a single hammersmith is responsible for every anniversary cymbal's bell.

The resulting cymbals can truly claim to be hand-made, with each finished instrument being unique. Arman and Sarkis Tomurcuk were heavily involved with the design and prototype stages of the cymbals and every model is inspected, played and then signed under the bell by both brothers before being released.

Hands On

The two rides - 20" and 22" - are thin and weigh in at 2,100 grams and 2,400 grams, while the 14" hats are paper-thin and a mere 1,150 grams combined. Their profiles curve gently down from smallish but rugged-looking bells, while a mass of hammer marks and lathing bands fill their surfaces.

In a nod to vintage aesthetics, the cymbals are free of any transfer logos, being identified instead by three vertically-arranged stamps.

Being so light and thin, the hi-hats are endowed with an intoxicating degree of warmth and responsiveness. Closed, they give a deep, tangy note which is sheathed in gentle brightness.

Opened up, the note broadens then dissolves into a smooth, fuzzy wash that had me hunting for hidden rivets. And stepping them kept us occupied for hours - literally. It's as though the sound they make is as soft and pliable as the hats themselves.

The rides, while also not being especially loud, are far from subdued - being suffused with a spiky, almost seething tonality. The stick response is a woody/silvery 'tah' that seems a step away from getting angry, as if each 'tah' is being spat out. Moving onto the bell compresses and intensifies these qualities, sharpening the sound further.

Then there's the wash: the only remotely accurate description is 'roar'. Again, this doesn't allude to the volume generated; more its timbre and insistent presence. Accompanying the gentlest touch, the wash is a hissing, churning, oceanic backdrop rolling along restlessly beneath the pulse. It never builds so far as to divert attention from the pattern, but it's a big factor in the overall sound.

Crashing results in a dark, trashy eruption that subsides to a washy undertow. Such cymbals demand to be played into, and all the variations in dynamics and speed that we threw at them were taken in their stride. We then found ourselves doing the opposite and hitting them once to listen, utterly absorbed, to the decay.

Swapping sticks for mallets proved to be as engrossing. The overlapping waves of swell that the mallets encouraged revealed yet more tonal depths. Even though we played the rides every day for the period that we had custody of them, we got the impression that we hadn't heard all they had to offer.

Istanbul Agop has produced a set of cymbals that are uncannily similar to the vintage Turkish Ks that inspired them. Like their aged counterparts, they are instruments full of character and subtlety.

The hi-hats are exquisite - physically slight but beautifully voiced and hugely playable. The rides are equally stunning, with the 22" being the standout model of this selection. It's an astonishingly complex and involving cymbal, the sort that you could happily spend a lifetime discovering all of its nuances.

This is one of two new tabletop synth boxes out this month from analogue purists Vermona. Mono Lancet is a two-oscillator mono synth with basic architecture, adding one filter, one ADSR envelope and one LFO to the equation.

The unit sits on the desktop and is about the size of a typical paperback book. It has a bit of a retro look to it, with its cream star-shaped knobs and two-tone brown metal chassis. It tilts forward slightly, making the three rows of knobs easy to read and all the more tweakable.

"You can count on a nice creamy tone, buzzing acid lines, squeaks and gurgling sound effects."

The unit is primarily triggered via MIDI and supplies both MIDI In and Thru ports on the rear. Also round the back is the audio out on a quarter-inch jack and a mysterious 25-pin D-Sub socket labelled 'extension'. Over on the left is where you plug in the 12V power supply, and next to that is a promising little button labelled 'Overkill'

When we first spotted the Overkill switch, we were eagerly anticipating some kind of nice overdrive stage or peak limiter to further warm the signal. Alas, reading the manual reveals that it's nothing so exciting; in fact, it's actually just the equivalent of a power on/off or standby switch, though Vermona are keen to point out in the manual that it is 'no power switch'.

Something must have got lost in translation, but always remember to unplug synths when they're not in use.

Lancet layout

The top row of controls is used for VCO 1 and 2 and its various modulation options. Each oscillator has a three-position switch to choose from Pulse and Saw waves, plus one extra option - either a triangle for Osc 1 or noise for Osc 2.

Both have three-position octave switches with Osc 2 sitting one octave higher. It also offers independent de-tuning by up to seven semi-tones in either direction. The pitch of both oscillators is modulated together, and sources include the LFO and the envelope - which provides positive and negative modulation.

The Glide knob adjusts the speed, and when the knob's at zero, glide is off. There is a second Glide Legato mode available (this only slides the overlapped notes) and this can be switched on or off via MIDI CC 89. This is achieved by sending the designated MIDI CC number below 64 for off and above 64 for on.

In fact, Vermona have previously used this method of transmitting MIDI CC messages to switch various functions on and off when there is no switch on the front panel.

Hello oscillator

Mono Lancet's mix control blends the two oscillators - it's worth pointing out that the volume stays even around the centre position then gently slopes off in each direction, leaving one or the other at max loudness. Since the oscillators are always being fed into the filter at a constant volume, there's no way to overdrive the filter on the way in.

Another limitation from not having a dedicated oscillator volume control is that, even when the filter resonance is set to self-oscillate, you can always hear the background tone.

The next row of knobs is for the VCF and the VCA. The three-position switch selects between the EG, a gate or always on. You can also use the Trig button or the mysterious SEQ button.

Not a lot is explained in the manual about how to use what you would imagine is a sequencer - other than that, if you press it, it plays a seemingly random repeated sequence. So apparently, this isn't so much a programmable feature as a little utility to check for sound when there's no keyboard handy.

The final bits of the puzzle, namely the LFO with S&H and ADSR, are located at the bottom, along with master tuning. The LFO features Square, Triangle and S&H shapes, and speeds range from the super-low 0.05Hz up to 250Hz for some cool buzzing, FM-style tones.

My Vermona

Tuning stability is one of the banes of analogue synth use. As far as consistency goes, the Lancet wasn't too bad; it remained fairly stable and didn't fluctuate out of tune too much from ambient temperature.

On the other hand, the octave scaling on the test unit was a bit out as we jumped from octave to octave. This is true of the three-position switch, which gets flatter by 12 cents per octave and also when played using a keyboard.

Maybe that's what some analogue enthusiasts love but we'd prefer it to be more accurate and that this was checked and calibrated at the factory.

Some users will no doubt moan about the lack of switches for engaging the options - which would obviously be the most convenient solution. But to look on the bright side, space and cost aside, you can store a number of different setups as MIDI files, and in this way everything can also be automated via a sequencer.

Bleep-wise, this synth is as capable as any other tabletop analogue box, of which there are plenty. Don't expect anything particularly new, but you can count on a nice creamy tone, buzzing acid lines, squeaks and plenty of gurgling sound effects.

MIDI and More

With a limited amount of knobs on the box to play with, it's not always obvious how this will affect its potential for sound design. The Mono Lancet has a number of extra features that are only accessible via MIDI.

This includes several option modes such as legato glides and velocity to amp or velocity and after-touch to filter cut-off.

You might notice that there are no controls for PWM directly on the machine which, in our opinion, is certainly a serious omission, but you can actually adjust the pulse width via MIDI.

You can turn this feature on and off using MIDI CC 85, then spinning or programming the Mod Wheel gets you modulating. This is the only assignment available for the Mod Wheel, so you might as well leave it on - it's too useful to just be overlooked.

We are divided in opinion as to whether or not it's a good thing that some of these options are MIDI-only, as we like the ability to in filter curve automation, but we're sure that analogue purists (and this is definitely the market in which Vermona excel) will not be so happy that they need to plug in a computer just to change the glide mode or PWM.

Cable ties

The lack of information regarding the 25-pin D-Sub expansion port makes it difficult to ascertain how much it will add to the synth's feature-set and ultimate value for money, and if it will integrate nicely with a modular setup.

Vermona have hinted that this will add CV/Gate style modular inputs and outputs for controlling things such as PWM and the filter, a MIDI-to-CV converter and also audio inputs, but they haven't announced whether they will sell a pre-configured cable or if you will have to make your own. This may change in the upcoming months, when Vermona unveil their master plan for the Mono Lancet, but until then it kind of sits in the ether in terms of value.

If these features do come to pass, then its value suddenly shoots up. For the moment, though, it doesn't do enough to stand out in the crowded desktop synth market.

Just as an incorrect grip on the sticks can lead to wrist problems, sitting incorrectly at your drum kit can lead to excruciating back and shoulder pain which can limit or even end your playing career.

Of course, the best way to nip these problems in the bud is with a good teacher but sometimes we're all guilty of bad habits and need a helping hand to put things right.

Perfect Posture UK think their Air-X back support brace will help us drummers alleviate back pain. Will it work? Only one way to tell…

Build

The Perfect Posture back support brace is made from a breathable elasticated Neoprene-like material that they call Air-X, with six wide, elasticated Velcro straps situated at strategic points to help secure the brace snugly to the wearer.

Two one-inch stiff inserts are held in place vertically from the base of the support either side of where the wearer's spine would be - to add upper back and shoulder support. These are contained within the material of the support, presumably made from plastic (as the brace is washable at 40°).

All external seams are covered with a soft material to ensure the wearer's comfort, and the Velcro straps are backed with a super-soft material as well.

Hands On

Feeling a little odd, we prepared to strap ourselves into the brace, but realised that our test-subject was broader-chested than the 38" medium was designed for. Nevertheless, our intrepid reviewer persevered, much to the amusement of their bandmates.

Whilst not doubting Perfect Posture's claims that the brace is comfortable enough to wear under clothing, we opted to take their advice and wear it over a T-shirt - as they recommend for the first few times. Something worth considering size-wise if you decide to take the plunge.

Straight away, the effect of the brace was apparent - it forces you to sit more upright and pulls your shoulders back and, if you wear a jacket with it, looks like you're wearing a shoulder holster!

However, it offers little support to the lower back, so doesn't prevent you leaning forward when playing. The straps around the arms tended to feel restrictive after extended playing, although this is most likely as a result of our issues with the size.

The Perfect Posture back support brace is marketed at a large range of people and for an array of uses. If you suffer from pain caused by imperfect posture whilst playing then it may help promote better posture, just be careful to select the right size initially.

However, whilst it may be a useful aid, nothing beats proper prevention, so taking advice from a reputable teacher can help you adjust your set-up to alleviate any niggles you may be experiencing.

Apogee's collaborations with Apple are yielding some tasty fruit. Fresh from last month's rendezvous with the GiO interface, this month we find ourselves in the company of One, Apogee's latest (and simplest) audio interface to date.

Featuring a single channel of high-quality audio I/O and with a similarly minimalist design feel, this could be the interface for audio-ists who need to balance only basic recording requirements with high-fidelity results.

Portability

One is a USB bus-powered black box which measures only a little longer and wider than an iPhone. It features a prominent silver dial on its upper surface which doubles as an Input Gain dial for signals being recorded and a volume dial for playback signals.

Due to the compact nature of the design, matching that of its older sibling the Duet, traditional audio input ports are replaced by a breakout cable - which has a bespoke connector - at the interface end and an XLR mic connector and quarter-inch jack input for instrument connections at the other.

Only one of these can be used at any time. Status lights at the top of the interface show which input is active, whether 48V of phantom power are being used or, indeed, whether the external microphone options are being superseded by One's own internal microphone.

This input is mounted towards the bottom of the interface's upper surface and represents the simplest way to get sound from the interface to the computer, requiring you to simply plug in the USB cable and set a gain level.

The provision of this internal mic will widen the potential appeal of One to interviewers and podcasters, among others, who'll be pleased to discover an interface which provides high-quality recording without the need to connect up external microphones.

Up and running

To configure audio connections, One's installer bundles the Maestro software (ostensibly a control panel) which toggles between external and internal inputs, lets you switch phantom power on/off and keeps you in control of all things I/O.

The CD installer requires Mac OS X 10.5.7, so if you're running Snow Leopard you'll need to download a driver from Apogee's site.

Our only gripe with One is that the breakout connector to the mic/line inputs is too short. While the USB cable is of adequate length, there's a serious risk that this interface will come shooting off your desk if you've plugged in a guitar and are rocking out or if you've connected a hand-held microphone for voice-over recordings, for instance.

The portability of the unit is such that you wouldn't want to find a way to pin it down but, equally, you do need to be a touch careful. Otherwise, the unit is simple to use and provides great results.

The headphone port doubles as the main audio output, so you'll need to grab a 3.5mm jack to phono adaptor cable (which isn't provided in the box) if you want to plug it into speakers.

One for you?

So, to whom will this appeal? Well, to the thousands of laptop users who mostly need playback but would love the option to jam a guitar, keyboard or vocal part over a work in progress and, as mentioned, to podcasters and interviewers, too.

As with GiO and Duet, One's ace up its sleeve is the quality of its audio signals, which are absolutely capable of pro results.

Adam speakers have garnered a great reputation among studio bods over the past few years and, never one to rest on its laurels, the company are continually seeking to improve their designs wherever possible.

The A3X is no exception. Straight out of the box, the compact design is a thing of utilitarian beauty. Built from MDF with a high-quality tapered plastic covering, these speakers look great and feel like they are cut from the same cloth as their more expensive Adam brothers.

Still, the most striking thing about Adam speaker designs is the X-ART (eXtended Accelerating Ribbon Technology) tweeter. Working much like the bellows of an accordion, the gold folded-ribbon tweeter is lauded for its fast transient response and wide dispersion, something that's most definitely corroborated by the A3X's excellent top-end performance and transient detailing.

The new 'X' version of the tweeter has a higher frequency response than the old ART tweeter (now up to 50kHz) and also produces higher SPL levels, too.

Grand design

The A3X's active design utilises two 25-Watt RMS class A/B amplifiers (one for the mid driver and one for the tweeter) and there's plenty of power - the A3X is surprisingly loud for its size, but the overall character remains consistent when pushed. Even at low volumes, it's easy to hear right into the music and transient details are accurately conveyed.

Overall, the character is warm, clear and punchy, and there's a good amount of mid-range detail. In particular, the upper-mids and highs come across well, making it a joy to use for work on vocals, guitars and keyboards (that generally occupy this frequency area).

The tweeter is bright and airy (there is a Tweeter Level dial round the back for increasing and decreasing the top-end if required) yet produces a well-rounded sound. The mid/low-range carbon fibre cone does a great job of pushing air yet doesn't sound flappy (something that can be a problem with front-ported designs such as this).

Low-end detail is a strong point of the A3X and, for a speaker that rolls off at 60Hz, the bass extension is deep and controlled. It feels like it goes a lot lower than it says on paper, but do be wary of it if you're making club music that needs clear low-end detail.

Control/connection-wise, the power switches are front-mounted for convenience, plus the volume controls (+/-14dB) can be linked so that either speaker's Volume control can turn down both speakers' volumes together - very handy for speeding up the production process.

Input-wise, there are both phono (unbalanced) and XLR (balanced inputs).

Hard to fault

In action, there is little to fault with these speakers. They are musical, convey transients well, have plenty of top-end and low-end punch and the mids/lows are quite upfront, allowing you to really hear into reverb tails and basses alike.

The A3X becomes even more appealing at the almost insanely low price of £398 for a pair! At this price, the A3X is a real bargain, but do bear in mind it's not magnetically shielded, so you may experience interference problems.

It is suitable for many mix applications including surround (though for serious low-end mixing you would need a sub) and are a great set of second reference monitors.

All in all, Adam has produced a fantastic speaker that we can really see flying off the shelves.

The WeatherKing Ambassador has been the industry-standard drum head ever since the plastic head was established in 1957. For toms this is true today, although some drummers employ a reinforced snare batter and a partially dampened bass drum batter.

Drummers keep hitting harder and Remo has previously responded with the Emperor X, Powerstroke-X and Black Suede Emperor, which was, according to Remo, "A response to rock and metal players looking for a little warmer sounding head that still had the resonance, projection and durability Remo is known for." All this has led logically to the Ambassador-X.

Build

The coated Ambassador-X is a single-ply head, like the original Ambassador, but at 12-mil is 20 percent thicker than the standard Ambassador's 10-mil (1,000 gauge) - 0.012" as opposed to 0.01". It's a subtle increase, but the white coat looks denser and creamier than the standard Ambassador.

Otherwise the head is identical in build with the same top quality Mylar exclusively supplied by DuPont. Sizes are limited to 8" through to 18" with no bass drums, but perhaps that is not surprising since even standard Ambassador bass drum heads are uncommon these days.

Hands On

We've always been Ambassador fans. They sound great when they're fresh and also worn in and starting to stretch, when you get more of the 'blam' factor.

The new Ambassador-Xs retain these qualities with that familiar, open, generous tone. But there's a little more attack, warmth and richness to the sound.

Tuned high you get a timpani-like ping with a full note and defined pitch. Tuned lower you get a fat tone with lots of 'thwack' followed by good sustain, particularly on the bigger drums.

When we first played the 16" floor tom it resonated forever and we had to de-tune a lug to control it. There's certainly no shortage of sustain.

Many drummers who use normal Ambassadors on their toms require something tougher on their snare and resort to, for example, a CS batter. The Ambassador-X is that bit harder-wearing, prompting its use as a snare batter too. Rim shots ping out; ghost notes are clean and crisp.

Using standard Ambassadors for the resonant tom heads feels entirely natural and we used a medium tuning, getting the best balance of sustain, tone and response.

We tested these heads at a weekend charity festival where they were played outdoors in the open air. This is always a severe test since the sound can be cold and dissipate quickly, but the full-toned A-Xs performed as we hoped.

Evans beat Remo to market with a 12-mil head, the G-Plus, which we loved. We're equally impressed by the Ambassador-X. You get the industry standard single ply head - the all-time proven all-rounder - with extra strength, durability and warmth.

Taking this mighty mixer out of the box is quite incredible. It's a heavy, wide and very robust feeling unit with a 5.8-inch dual-touch touchscreen interface and central effects section dominating the majority of the space.

It's designed to sit flush alongside the CDJ-2000s, and Pioneer has mirrored the same slanted-front design. When you're in front of four CDJ-2000s and this mixer, it not only looks awesome, but the amount of flexibility in how you choose to DJ is immense with this particular setup.

Although the mixer can work splendidly with any other CDJs, its integration with the 2000 series is incredible.

"Using start/stop and MIDI on/off, you can choose when to send MIDI from the mixer and when not to."

Around the back there are six LAN ports, with four ports to connect CDJ-2000s using the LINK technology and two for connecting two separate laptops running Rekordbox.

This means that laptops can be connected via a single LAN cable and, when using the CDJ-2000s, can act as a means of searching and browsing your music, while all the actual DJing is done on the Pioneer hardware by dragging songs directly onto the Live icons of the CDJs or even directly on to the mixer.

When songs are dragged onto the DJM-2000 mixer icon, they are previewed - you can use the Link Cue function to preview tracks without having to load them to a deck. This makes browsing your laptop-stored music even faster. Of course, as mentioned before, this is only one way to DJ using this mixer.

Inside the DJM-2000 there's also a 24-bit, 96kHz, eight-channel soundcard, so it's easy to hook up a laptop and use the DJM-2000 as a multi-output soundcard and mixer without any extra external boxes or audio interfaces required.

EQs and FX

The EQ is again based on the subtle Pioneer sound, with the option of switching the EQ from either a +6dB to -26dB range to an isolator setting, which will completely kill the high, mid or low frequencies when turned fully to the left.

The central Effects section is based on the EFX-1000 outboard effects units from Pioneer and includes a few extras such as Reverb, Slip Roll, Gate and Multi-Tap Delay.

There's also a three-band frequency isolator-style EQ, which allows you to fine-tune the effects to the frequencies you want and even add feedback loops and added resonance by pushing the three frequency bands to the max.

The Slip Roll is a particular highlight of these effects, enabling DJs to cut a section of the track and loop it at fractions, just like a standard roll effect. But, with Slip Roll, you can re-trigger the fractions from new points while the track continues underneath. This makes for a much more natural beat-chop effect when in the mix.

Each of these central effects can be applied to individual channels, A or B sides of the crossfader or the master channel. This isn't where the effects end, though, as Pioneer have also included six INST FX, which can be applied to each channel and controlled using the Filter Control rotaries located above each volume fader.

The usual effects suspects are here including HPF, LPF, Crush, Zip and Jet, but the coolest effect is the inclusion of a noise oscillator, which can be swept onto any channel using the same channel specific Filter rotary.

This makes creating your own build-ups and drops very simple, and added fun can be had by applying the main effects over the top of the noise such as adding a Phaser or Transform effect. This feature alone will make this mixer a firm favourite with club DJs.

The inclusion of MIDI with this mixer is very thorough, with a dedicated MIDI Out port that can send MIDI clock to external devices dependent on the bpm calculator readouts. All controls of the unit are also MIDI-mappable.

As yet, the unit has no Traktor TSI template available, but Pioneer expects templates to be forthcoming.

Using Ableton, Traktor or any other MIDI software alongside the normal functions of two CDJs and a mixer is also easy. Using start/stop and MIDI on/off control buttons, you can choose when to send MIDI information from the mixer and when not to.

The unit is also separated into two MIDI zones: the touchscreen and the rest of the unit. Both these zones can have separate MIDI channels, so that the touchscreen could be used to trigger clips in Ableton while the rest of the unit is set to take command of Traktor.

Can Touch This

With touch technology in its SVM-100 AV mixer, it's no surprise that Pioneer has embraced the popular world of the touchscreen in their DJ line. The DJM-2000's whopping 5.8-inch colour touchscreen is an amazing feature for a mixer to have, nonetheless.

Designed as the solution to a multitude of duties, it includes a Frequency Mixer, MIDI controller and Sidechain Remix mode. The screen is duo-touch, which means only two actions can be performed at the same time, but on a screen this size it never becomes an issue.

The first obvious test was to wet our fingers and test the touchscreen for issues in a recreated drunk/sweaty/clumsy club environment. We're pleased to say that it passed with flying colours and seemed just as responsive with to damp daubs as it did to our dry ones.

Testing out the innovative Frequency Mixer was also a success. This multiband crossfader is split into seven different frequency bands and allows you to crossfade them between whichever two channels you like.

In use, it allows you to blend frequencies between tracks more subtly than ever before - way surpassing what is possible using channel EQ tricks alone. It will certainly be hugely popular with the Techno, Minimal and Progressive crowds for incredibly smooth mixing.

'Ere Come Da Remix

Another feature on the touchscreen is the equally original Remix Mode, which serves up an X/Y pad that can control one of four different oscillators, a Roll Style sampling mode, Pitch effect and Gate effect.

The oscillators are all noise-based drum sounds with hi-hat sound on oscillators one, two and three, and a more 808-style snare on oscillator four. Using this mode, you quickly realise that its success is dependent on the track triggering the oscillators.

The oscillators are envelope-triggered rather than triggered by the master bpm, and you can mute high, mid and low frequencies to tighten the amount of transients triggering the oscillator.

While there's a fair amount of tweakability, it can sound a tad clumsy if you're not careful, but the bonus is that any tempo changes or movement in the trigger track instantly feeds back to the oscillator.

Feeding these noises to a separate channel and adding a mixture of the INST FX and main effects is where the fun really begins.

Set the sample

The colour touchscreen is the obvious main attraction on this mixer but hiding in a small button to the top left of the screen is a Live Sampler mode. For on-the-fly creative performance this is an unbelievable tool, although you do need to have a LAN-connected CDJ-2000 for it to work.

Hitting the button brings up a GUI on the interface where you can record up to eight seconds of either the microphone input or the master channel output. Once sampled, hit the Link button on the CDJ-2000 deck and you can select the DJM-2000 and playback, scratch and manipulate the sample you've recorded.

The possibilities for working alongside MCs and with instrument players are obvious when using this feature. Being able to loop, effect, and scratch sounds you've only just sampled is sure to be a crowd-pleaser and another creative weapon for the DJ.

Plus, because the DJM-2000 has the ability to 'talk' to the CDJ-2000s in the way, the circular ring of light around the jog wheels of the CDJ-2000s will actually glow red when they are 'on air' (the mixer faders turned up), helping to stop accidents from happening when four CDJ rigs are in use.

Pioneering mixer

Pioneer have really gone all the way with this mixer, serving up a solution for every possible scenario and making the regular two-CDJ-and-a-mixer setup more creative than ever before.

As soon as you decide on the best way the mixer works for you, it's much easier to focus on the details and colouration of your mix rather than getting bogged down in features and effects, which is very easy to do. Pioneer have stuck with familiar controls and stylings, which lowers the immediate learning curve, and added features such as Remix Mode, Frequency Mix and touchscreen MIDI templates are simple to get to grips with.

You can't ignore the massive price tag here, but this is one of the most cutting-edge mixers on the market and could form the basis of everything from a creative DJ act to a full-flight Electronic music show.

When combined with four CDJ-2000s, it's easily the most creative, stable and well-thought-out DJ rig available.

Although conventional wisdom has it that mixing on headphones is A Bad Idea - because sound is piped directly into each ear, you don't get the left/right bleed that comes from using monitors - the popularity of laptops, iPhones, iPads and other mobile devices means that most of us now do at least some of our music making on the move.

This being the case, a decent, comfortable set of headphones is becoming a must for the hi-tech musician, and the Blackbox M10s have the added advantage of offering noise cancelling technology. This comes from Phitek Systems, a company that has been licensing said technology to other manufacturers for a while, but is now producing its own cans under the aforementioned Blackbox brand.

In the box you get the headphones themselves, two detachable stereo 3.5mm jack cables (so if one breaks, you've got a spare), a dual 3.5mm mono airline adaptor (noise cancelling 'phones are a godsend on planes), a 6.5mm stereo adaptor, a silky carry pouch that feels like something a magician should have, and a AAA battery.

The battery is required for the noise cancelling to work, though usefully, the M10s will also function (albeit with compromised performance) without power. That said, 50 hours of use are promised from one AAA, so if you carry a spare you're unlikely to ever have to listen in this mode.

In use

Once you've got them on, the M10s don't throw up any unpleasant surprises. Bass is tight and well-defined and mids are punchy. There's not the top-end sparkle you get from some headphones - and overall, performance is polite rather than bruising - but these cans punch their weight sonically.

That said, the M10s wouldn't be anything remarkable if they didn't cancel noise, so it's fortunate that they do this pretty well. Flick the switch and the majority of background buzz and hum is eliminated, and once you've got your music on, you can't hear much else either. The only downside is that leakage is slightly higher than you might expect; you won't be able to hear the guy next to you chatting on his mobile phone, but he may be checking out your latest dubstep production whether he wants to or not.

Ulimately, though, the M10s come recommended, having much more in common with more expensive noise cancelling headphones than cheaper ones. They're comfortable to wear for long periods at a time - great news if you're going to use them for music making - and do a fine job of shutting out the world around you.

We're used to seeing free guitar amp sims, but how about a trio of instruments that emulate the instrument itself? There's also a synth and a plug-in that celebrates randomness.

If you've got a new free music software release, make sure you let us know about it by emailing musicradar.pressreleases@futurenet.com with all the details.

DSK Music DSK Guitars

Platform/format: PC/VST Download

The name says it all really: three separate plug-ins that emulate acoustic, steel and nylon guitars. A very similar GUI is used on each of them, and keeps things simple by presenting you with just ADSR and level controls.

DSK Music TechSynth

Platform/format: PC/VST Download

DSK has been busy, for as well as releasing those three virtual guitars, it's given us this two oscillator synth. Each of these can choose from five waveforms, and you've also got a filter, amp envelope and delay effect. 60 presets are included, so there are plenty of sonic starting points.

SyS Audioresearch n0t0mizor

Platform/format: PC/VST Download

n0t0mizor gives you a simple way of generating randomised MIDI notes, though you can define certain parameters yourself. It doesn't affect any MIDI information other than pitch, and its output can either be used inside your DAW or sent to an external instrument.

Electro-acoustics are everywhere. Almost every luthier makes them, and as a result prices are competitive. Here's a selection of eight worthy models ranging in price from £199 to £499, kicking-off with Washburn's WD32SCE.

Electro-acoustics are everywhere. Almost every luthier makes them, and as a result prices are competitive. Here's a selection of eight worthy models ranging in price from £199 to £499, kicking-off with Washburn's WD32SCE.

Something's happening in the world of amplifier heads.

Take a stroll through a trade show in 2010 and you'll still see the big boys, stacked up like leather breeze blocks, atop monster cabinets, for the delectation of well heeled punters still stuck in the 'big is best' mindset of 70s stadium rock.

Increasingly popular, though, are the new breed of so-called lunchbox amps: smaller, lighter and cheaper versions of all-valve heads that run at lower power (usually a maximum of 20 watts), reach their sonic 'sweet spot' at more practical volumes, and hop aboard any cabinet you fancy.

The recent lunchbox craze is widely credited to Orange's Tiny Terror, so for this group test, we brought in that model's classy Hard Wired brother (£663). As the only non-PCB model (ie, it doesn't use a printed circuit board, but features point-to-point hand wiring), there's no doubting the Orange's psychological advantage here, but it will have a fight on its hands against the much cheaper contestants in the test.

Such competition comes in the form of Hayden's Mini-MoFo (£329), Jet City's JCA20H (£319) and Blackstar's HT Studio 20H (£379).

To keep things equal, we'll be testing all four heads through the same 2x12 cabinet, and playing Back In Black at least once on each. Heads up…

First up: Orange Tiny Terror Hard Wired Edition review

Something's happening in the world of amplifier heads.

Take a stroll through a trade show in 2010 and you'll still see the big boys, stacked up like leather breeze blocks, atop monster cabinets, for the delectation of well heeled punters still stuck in the 'big is best' mindset of 70s stadium rock.

Increasingly popular, though, are the new breed of so-called lunchbox amps: smaller, lighter and cheaper versions of all-valve heads that run at lower power (usually a maximum of 20 watts), reach their sonic 'sweet spot' at more practical volumes, and hop aboard any cabinet you fancy.

The recent lunchbox craze is widely credited to Orange's Tiny Terror, so for this group test, we brought in that model's classy Hard Wired brother (£663). As the only non-PCB model (ie, it doesn't use a printed circuit board, but features point-to-point hand wiring), there's no doubting the Orange's psychological advantage here, but it will have a fight on its hands against the much cheaper contestants in the test.

Such competition comes in the form of Hayden's Mini-MoFo (£329), Jet City's JCA20H (£319) and Blackstar's HT Studio 20H (£379).

To keep things equal, we'll be testing all four heads through the same 2x12 cabinet, and playing Back In Black at least once on each. Heads up…

First up: Orange Tiny Terror Hard Wired Edition review

UPDATE: In 2009 we asked you to name the best heavy metal amplifiers on the planet. While the top 12 haven't changed, 2010 saw Mesa/Boogie update its Dual Rectifier and - after 20 years of uninterrupted production - this latest version remains the "benchmark for metal". Scroll through to see the new 100W addition and for a reminder of the heaviest, most bowel-disturbing amps your money can buy…

"So, You've ripped the sleeves off your t-shirt, strapped on that spark-spitting chainsaw codpiece and are wielding an axe with more points than The Pointer Sisters in a skip full of cats. When you throw the horns and the roar of the crowd is eclipsed by the ferocious howl of feedback, what's the amplifier you'd want behind you to help set that moshpit alight?"

That was the question, and this is the gallery of answers: the top 12 amps for heavy metal, as voted for by you. Following a poll, we also have a winner… scroll through to find the ultimate metal amp!

First up: Hayden Classic Lead 80

UPDATE: In 2009 we asked you to name the best heavy metal amplifiers on the planet. While the top 12 haven't changed, 2010 saw Mesa/Boogie update its Dual Rectifier and - after 20 years of uninterrupted production - this latest version remains the "benchmark for metal". Scroll through to see the new 100W addition and for a reminder of the heaviest, most bowel-disturbing amps your money can buy…

"So, You've ripped the sleeves off your t-shirt, strapped on that spark-spitting chainsaw codpiece and are wielding an axe with more points than The Pointer Sisters in a skip full of cats. When you throw the horns and the roar of the crowd is eclipsed by the ferocious howl of feedback, what's the amplifier you'd want behind you to help set that moshpit alight?"

That was the question, and this is the gallery of answers: the top 12 amps for heavy metal, as voted for by you. Following a poll, we also have a winner… scroll through to find the ultimate metal amp!

First up: Hayden Classic Lead 80

For all his blazing live pyrotechnics and psychedelic studio voyages, Jimi Hendrix is still regarded as one of the very best blues players that ever lived.

To get close to Jimi's sound you'll need a gritty Fender Stratocaster neck pickup tone like the one on Red House for some of these examples. Others require a more distorted Fuzz Face-type bridge pickup sound.

Click to enlarge each of the following examples. If you are new to guitar tab, check out our comprehensive guide first.

Example one:

As if introducing a 12-bar solo, this example borrows a few trademarks. The pentatonic phrasing is done by ear, rather than following a scale, because Jimi didn't read or write music. Pay close attention to details like the wide vibrato, frequent quarter-tone bends and staccato hits. This is where the magic lies!

Example two:

Altogether more aggressive, this example is more representative of Jimi in mid-flight. The classic repeated figure gives way to some soul-influenced doublestops, which were such favourite moves of his. There's more staccato stuff going on and notice how much more attitude those last doublestops have when you bend them up a quarter-tone.

Next page: Examples three and four

{PAGEBREAK}

Example three:

Now we're really flying! Though this is superficially more technical, the feel always comes first. It takes a fair bit of hand strength to execute stuff like this, so don't be impatient. And even if that's not a problem, you can never spend too much time refining the details…

Example four:

To bring our imaginary solo to a triumphant conclusion, here's a great Hendrix-style finish. The bend/doublestops turn to a more relaxed pentatonic descending then classic ascending pattern. And those last two chords were a lot of fun to play.

Click here for more blues guitar video lessons.

For all his blazing live pyrotechnics and psychedelic studio voyages, Jimi Hendrix is still regarded as one of the very best blues players that ever lived.

To get close to Jimi's sound you'll need a gritty Fender Stratocaster neck pickup tone like the one on Red House for some of these examples. Others require a more distorted Fuzz Face-type bridge pickup sound.

Click to enlarge each of the following examples. If you are new to guitar tab, check out our comprehensive guide first.

Example one:

As if introducing a 12-bar solo, this example borrows a few trademarks. The pentatonic phrasing is done by ear, rather than following a scale, because Jimi didn't read or write music. Pay close attention to details like the wide vibrato, frequent quarter-tone bends and staccato hits. This is where the magic lies!

Example two:

Altogether more aggressive, this example is more representative of Jimi in mid-flight. The classic repeated figure gives way to some soul-influenced doublestops, which were such favourite moves of his. There's more staccato stuff going on and notice how much more attitude those last doublestops have when you bend them up a quarter-tone.

Next page: Examples three and four

{PAGEBREAK}

Example three:

Now we're really flying! Though this is superficially more technical, the feel always comes first. It takes a fair bit of hand strength to execute stuff like this, so don't be impatient. And even if that's not a problem, you can never spend too much time refining the details…

Example four:

To bring our imaginary solo to a triumphant conclusion, here's a great Hendrix-style finish. The bend/doublestops turn to a more relaxed pentatonic descending then classic ascending pattern. And those last two chords were a lot of fun to play.

Click here for more blues guitar video lessons.

This week, a new synth that promises not just style but substance, and news of an OS X port for a popular series of guitar amp/FX plug-ins.

If you've got a new free music software release, make sure you let us know about it by emailing musicradar.pressreleases@futurenet.com with all the details.

Tactile Sounds TS-Substance

Platform/format: PC/VST Download

If you were asked to come up with a list of things that you'd like to see in a new free soft synth, simplicity, flexibility and (good) sound quality would probably be on it. This is what Substance promises: it was inspired by the classic analogue polysynths of the past and has two oscillator sections, two LFOs, two envelopes and two filters.

AuraPlug Freetortion Series

Platform/format: PC, Mac/VST, AU Download

OK, it's not new, but Mac users should be aware that Auraplug's Freetortion Series, which contains six guitarist-friendly amp/FX plug-ins, has just been ported to OS X. The only stipulation is that you'll need an Intel-based machine to run them.

Reason's RPG-8 is one of the most stunningly useable, powerful and friendly arpeggiators we've ever seen, and it can be applied to any sound source in the Reason rack.

If you've read the manual, you'll know all this already, but if you're looking for some creative ideas on how to use it, read on.

1. Arpeggio Notes To Track

The Gate Length control on RPG-8 is great, but sometimes you want to vary each note independently so that, for example, the higher notes are shorter than the lower notes. Or maybe you want to just control the length of each note in a loop separately. In this case, you're best off using the Arpeggio Notes To Track function to create a clip.

2. Thicker arpeggios

Want to create thicker and more interesting arpeggios? Try copying an entire track (eg, synth, arpeggiator and MIDI clips, ideally locked together in a Combinator), then transposing one of the RPG-8s either up or down. You can add even more excitement by altering the range of the arpeggio on one of the channels

3. Delay

To add an interesting delay effect, use the layering technique from the last tip, setting the Gate Length very short on both, then use the Slide control on the ReGroove Mixer to delay one of the channels. Try panning the two channels left and right slightly for a cool stereo effect.

4. Octave variation

A great way to accent different parts of a track is to alter the arpeggio octave range in real time. So, for example, you could use the one-octave mode for your intro and drops, the two-octave mode for verses, the three-octave mode for your bridge and the four-octave mode for the choruses.

{PAGEBREAK}

5. Turn off Single Note Repeat

Spice up your riffs by simply disengaging the Single Note Repeat button, then overlapping notes occasionally to generate bursts of arpeggio (with Single Note Repeat disengaged, arpeggios are only played when multiple notes are sounded). Alternatively, throw a few held notes over your riff in places for a similar type of effect.

6. Hold it

Try engaging Hold so that the arpeggio will continue even after all keys are released - this is great for live performance and idea building. And if you hold one note of the previous arpeggio down, and send some more notes to the RPG-8, it will add these new notes to the existing arpeggio, making you sound like a skilled musician!

7. Modulate the Rate

If you want to add a bit of emphasis to an arpeggio, you can modulate the Rate in real time. For rhythmic changes, leave it in Sync mode, or for more crazy effects, try putting it in Free mode and sweeping Hertz instead. This works really well for breakdown effects, and sweeps in short drops.

8. Give it some groove

The arpeggiator enables you to add swing, but if you're desperate to get a bit of precision groove template action on your otherwise robotic arpeggios, you'll need to make use of the tried-and-tested Arpeggio Notes To Track function and then assign a ReGroove Mixer channel to the appropriate instrument track.

9. Keep it simple

For a lesson in writing simple backing tracks, listen to Blur's Girls & Boys. All you need is a basic one-octave arpeggio to start with, then simply keep changing the root note you feed into RPG-8. Moving up or down in steps of one, two, three, five and seven semitones is never a bad move in pop music.

10. Insert modes

To get the most out of Insert modes 4-2 and 3-1, you need to get the hang of using the right Octave range. For example, while holding down one note, using the two-octave range with 3- 1 won't make any change, whereas the 4-2 Insert mode will produce a nice variation on the basic arpeggio. Practise your own combos.

{PAGEBREAK}

11. Randomise

Arpeggiators are designed to be messed around with, so try feeding them some random stuff. For example, experiment with sending each of the MIDI clips in a project to an arpeggiator, including percussion parts and even Dr.REX loops. The former might well fit into your track, but it's fair to say the latter is more likely to generate new ideas.

12. Sync to tempo

One of the great things about RPG-8 is that, being tempo-syncable, it offers a fantastic way to actually play live electronic basslines, like that on New Order's Blue Monday. In fact, you can even emulate the synth-meisters of old and play live arpeggiated basslines and melodies yourself, with just minimal technical skill.

13. Rhythmic panning

The effect of tempo-synced arpeggios on a track can be enhanced by adding rhythmic panning. You can set this to any tempo you want, but try running it somewhere between quarter-notes and the actual tempo of your arpeggio. For anything faster than quarter-notes, you should usually reduce the furthest panned positions.

14. Learn it

Read the arpeggiator descriptions in the Reason 4 manual very thoroughly indeed, paying particular attention to the parts describing each function. As you read, try each button out in conjunction with the others. It's a lot of fun, and within about half an hour you'll have a complete understanding of what's what.

-------------------------------------------------------------------------------------------------------------------

Liked this? Now read: Propellerhead Reason 5 and Record 1.5: what's new?

Connect with MusicRadar: via Twitter, Facebook and YouTube

Connect with Total Guitar: via Twitter and Facebook

Get MusicRadar straight to your inbox: Sign up for the free weekly newsletter

Software synths are convenient, relatively cheap (free, in some cases) and many of them sound terrific, so why would you buy a hardware model? Live performance is one obvious reason but, for many, a 'real' instrument is something that simply has more soul.

We asked you to pick a favourite from a shortlist of the best hardware synths currently in production and, based on your votes, we've compiled the following list.

FIRST: Use Audio Plugiator

Although Paul McCartney is better known for his melodic bass playing, his acoustic guitar talents should never be overlooked.

Some of his finest Beatles songs such as Yesterday and Blackbird are underpinned by a unique style that is dissected here by Guitar Techniques editor Neville Marten.

Although Paul McCartney is better known for his melodic bass playing, his acoustic guitar talents should never be overlooked.

Some of his finest Beatles songs such as Yesterday and Blackbird are underpinned by a unique style that is dissected here by Guitar Techniques editor Neville Marten.

When it comes to acoustics and electro-acoustics guitarists have it easy; there are hundreds of instruments to choose from at virtually any price you want to pay. If you want an acoustic bass, however, you get the short straw.

Although acoustic-bodied bass guitars like the Framus Star Bass and Hofner's Violin Bass have been around for a long time, they are essentially standard electric bass guitars. They may have thinner, semi-hollow bodies, but they rely totally on the pickups for their sound. They don't bridge the gap between electric bass guitars and the traditional, cumbersome upright bass.

In recent years, however, the choice has got broader and here we evaluate six electro-acoustic basses ideal for pure acoustic or on-stage use. Despite the relatively small size of the electro-acoustic bass market there's enough variety of models and prices to appeal to anyone looking for an alternative instrument.

Few bass players would rely solely on one of these but they do provide a practical route to small ensemble playing, home rehearsal and some studio work. And although they get much closer to the sound of an upright bass (particularly when amplified) they offer a much more compact option.

However they sound acoustically, the sophistication of today's onboard pickup systems and preamps means that the range of amplified sounds available is staggering. Primarily the idea is to enhance the natural acoustic qualities of the instrument, but in reality most circuits go way beyond that and can provide a purely electronic sound that is totally different to that of a solid-bodied bass.

The right sort of amplifier

However, getting the right sort of amplifier is essential. Don't assume that your current combo or stack will suffice as in most cases it won't. The keyword with acoustic instruments is convenience, so it makes perfect sense to use a smaller, purpose-built or adaptable combo, with enough tonal adjustment to help bring out the best of the instrument.

Devices such as the AER Cube or Line 6 Lowdown Studio are ideal. Think small, comprehensive, ultra clean sounding and with DI output facility - all essential elements for successful acoustic amplification.

Buying a purely acoustic instrument with the idea of having electronics fitted later is obviously possible but it's a skilled job and could be cost-prohibitive. It's much better, in our opinion, to get one ready-loaded with a pickup and onboard preamp with a good natural sound, and then choose whether to use the electronics or not.

There are other more practical considerations to take on board. Single saddle bridges always mean a degree of compromise for intonation accuracy, and the shorter the scale length the more noticeable this becomes. Although much lighter than solidbodied basses they are also bigger so the playing position is very different. Onboard preamps mean they are powerful when amplified and because of their vibrant acoustic nature this can easily lead to uncontrollable feedback. Let's take a look at what's available…

First up: Garrison AG/AB

When it comes to acoustics and electro-acoustics guitarists have it easy; there are hundreds of instruments to choose from at virtually any price you want to pay. If you want an acoustic bass, however, you get the short straw.

Although acoustic-bodied bass guitars like the Framus Star Bass and Hofner's Violin Bass have been around for a long time, they are essentially standard electric bass guitars. They may ha