Picture it. Neal Morse has just jumped in a cab to go grab some dinner. The radio’s playing, the driver’s talking, and Peter from I Heart Guitar calls to chat about your very special, unique Australian tour which comprises of just two spontaneous acoustic shows before you head off on holiday. (Those shows are Friday, January 31 at the Evelyn Hotel in Melbourne and Saturday, February 1 at Crowbar in Sydney. Tickets here.). And it actually turns out to be a pretty cool talk.

I Heart Guitar: This is a really interesting tour and I think, you know, a rare chance to see you playing in a format that we don’t often get to see you in.

Neal Morse: Yeah, yeah. It’s really an intimate thing. You know, you get an opportunity to be more spontaneous than you can as a band, you know, a lot of times the band shows are great, but you know, they pretty much have to have a set list and know exactly what you’re going to do and what doesn’t work. And you have the video guides and all that stuff that production need to know what to do with this. But with this I can be more spontaneous.

I Heart Guitar: Yeah. I mean it’s something I’ve seen a few more people do these days and I guess it’s one of those things where as the music industry changes and there’s less money to be made, less of a living, I don’t want to say less money cause that makes it sound materialistic. That’s a good living to be made from releasing music. But there are more opportunities to present it in different ways. Like you know, Devin Townsend has just done an acoustic tour followed by like a live band followed by one show with a very specific metal lineup. Now he’s about to do another tour with a whole different band all for the same album, re-contextualized and over and over just to kind of see where he can take it now. Whereas I guess once upon a time, you know, bands might have put out the record and then toured the same show for two years.

Neal Morse: Right. Yeah, that’s true. Let’s see. Let’s just depends on the level of at and what’s your feeling to do, you know what I mean? I’m just glad to be able to come down here and have an audience to play my music for. I enjoy doing the solo thing and I enjoy doing the band things a lot too, you know, so I can understand why people would do a lot of different things, you know, because it’s just fun to mix it up, you know?

I Heart Guitar: You know, something that’s always kind of stuck in my mind about you is I can never tell who your audience is because so many different people rave about you, you know? And it’s like I’m a guitar nerd and I know who Joe Satriani’s audience is. But yours, I have no idea cause it’s like everyone.

Neal Morse: Well, yeah. You know, uh, mostly it seems like it’s mostly the prog audience but there’s some, there’s some overlap there with some other genres for sure.

I Heart Guitar: I think there are prog fans who only listened to a very narrow definition of prog, and maybe they’re musicians and think of things very critically from that point of view. And then there are others who are drawn to the genre because of the genre itself and how expansive it can be. And I think you get a lot of the second kind.

Neal Morse: You know, I used to think that about projects that if it wasn’t, you know, odd type signature, they wouldn’t accept it. And I found that I really, the opposite is true. There’s a lot of them who have really embraced a lot of my more quote-unquote ‘normal’ songs. And so I think everybody appreciates a good solid. I like that.

I Heart Guitar: So, being a guitar site, my readers are huge guitar nerds like me. So what do you play? Like what do you bring with you with a show like this?

Neal Morse: Oh, well you know this time because I’m going on vacation, actually right after this, so I asked if I could play the opening act guy’s guitar, so I didn’t bring a guitar or a keyboard actually! So I’m using all borrowed or rented stuff. All I did was bring pedals about like a little looper pedal and an inline tuner and a compressor. So if I want to solo above the loop, it’ll cut. And uh, that’s pretty much it. But I think it’s going to be really cool cause it’s it’s all about the material.

I Heart Guitar: Are you much of a collector of guitars and stuff?

Neal Morse: [To his wife in the cab] He’s asking if I’m much of a collector of guitars! I have quite a few. But you know, you never have all the ones that you really want. Yeah. I like, for example, I’ve never owned a Taylor. I mean that’s just not right, you know, but I don’t have a Taylor.

I Heart Guitar: Do you have any guitars that have interesting stories behind them? Any, you know, pawn shop finds or strange, serendipitous gifts or anything like that?

Neal Morse: Well that sort of blonde Strat that I usually play live. My brother Richard found it out of the Recycler, the nused newspaper in LA. He got that for like 150 bucks for like a birthday present. And the girlfriend that I had at the time bought that guitar for me in the 80s and all of that distress on there is, I actually inflicted it all! So it’s a real deal. You know, I, I play a lot of other guitars in studio, but for live, that one’s just home. Sometimes guitars are just home, you know?



Hardline Media proudly present Geoff Tate’s Operation: Mindcrime! The legendary frontman returns to Australia with his band to perform the classic concept album “Operation Mindcrime” in its entirety, and much more. I caught up with Geoff on the eve of the tour to talk about what’s what, and my favourite Queensryche album, Promised Land.

I Heart Guitar: So first of all, I was really excited to get the chance to interview you again. We spoke, jeez, years ago for the Gibson guitars website once, and I remember that that chat for me was at like 4:00 AM and we had a great old talk. But yeah,, you’re coming to Australia and I can’t wait!

Geoff Tate: Yeah, I’ll be there. Uh, it’s, I guess a few weeks in February. I think it’s going to be my fourth time in Australia.

I Heart Guitar: Yeah, I know the first time I ever saw Queensryche was on my birthday in Melbourne in 2005, 2006? It was the Operation: Mindcrime tour, which takes us to this new tour. Of course Operation: Mindcrime is something for a signature for you and that’s kind of the, the main focus of this tour. You probably get this question a lot, but how has that album changed for you over the years? Like there are things on there that still very much matter today, just in different forms.

Geoff Tate: Yeah, that’s crazy. We were just talking about that at that rehearsal tonight, talking with some of the guys from my band about how some of these lyrics just really, uh, you know, they, they still kind of stand up today, you know, the subject matter is similar or same and uh, like I guess it’s because, you know, the album is, um, deals with a lot of social issues and, and also with, um, kind of classic themes of, um, human beings and how we, uh, tend to try to dominate each other oftentimes in those are classic subjects that, uh, you know, I don’t know if we’ll ever, ever get, I’d be different as a species, you know, we’re pretty much kind of stuck in our ways, you know, but I think a lot of, lot of the, lot of the themes, yeah, they’d definitely stand up today, you know?

I Heart Guitar: Yeah. Especially in terms of not just people in power, but people in power, manipulating people who aren’t in power, but making them think they’re getting something out of it when they’re really being used.

Geoff Tate: Yeah. That’s a classic thing right there!

I Heart Guitar: So I’ve been watching a lot of videos in preparation for this interview of the current guys you’ve been playing with. And I’ve got to say like, you really seem to be inhabiting this material. You’re not just reciting it. And every time I see you play, every time I see a video of you on stage, you, you’re not, you’re not just reciting these songs, you are performing them in the moment. You’re not necessarily singing things the same way twice, but it’s still the song and it feels like it’s very real to you.

Geoff Tate: Yeah, it is very real. Yeah. And I honestly don’t know any other way to approach it other than what it is. That’s just me being me, you know? But, uh, I have to say I’ve really enjoyed, um, the last year or two of playing this record again and uh, you know, presenting it for people. And I’m quite surprised that the tour has lasted as long as it has. In fact, Australia, it will be the last shows that we’ll, um, we’ll be playing it. In fact, we weren’t, we were planning on being finished a tour with this album quite a while ago, but it just keeps having more and more leg, you know, to it, uh, promoters keep calling and wanting it, you know, and so I’ve, I’ve got to put, got to do something else now. So I’ve started getting ready to start the Empire, 30 year anniversary tour that starts in February. So, um, funny enough, I’m starting that in Norway of all places and then we finished that leg and we fly directly to Australia where we perform the last shows for operation Mindcrime. Then we, uh, go back to I think Sweden and start there and go back to our other set of the 30 year anniversary for Empire. We’re going to be flip flopping a little bit.

I Heart Guitar: Yeah. Yeah. I’m looking forward to when you get to Promised Land! That record was huge for me.

Geoff Tate: Oh wow! Yeah. Yeah. I love that album a lot. Yeah. I was just actually this weekend, this weekend, I was just up in San Juan Island where we recorded the Promised Land album and I was sort of reminiscing to some friends and my family was with me about all the places where we recorded and what we did while we were there and showing them some of the locations, you know, it was kind of fun going kind of going back to time

I Heart Guitar: What does that album mean to you now? Like it went so deep lyrically into a lot of things and to me it was like a new sound that was, you know, it was dark, it was aggressive, it wasn’t quite as, as pop oriented as, you know, as empire was. Did it feel like you were kind of treading new ground at the time?

Geoff Tate: Uh, yeah, it did. It felt like, um, well we hadn’t actually made music together as a band for, Oh, I guess three years. We took time off and just sort of tried to adjust to our, new surroundings that we found ourselves and after the success of Mindcrime and Empire. And I think that we were very separate, you know, as people and had moved on and from each other and, and you know, people had started, got married, started families, um, had divorces in that period of time. And we started up new businesses, took up hobbies, had children, you know, all kinds of life happened in that period of time. And so really, you know, to get the band sort of back into the headspace and creating, we decided to go to this remote Island and live up there and, and you know, make music again, in a studio that we built, and kind of tried to make the record in a real organic way. So that was the goal, really is to sort of come back together and see what we could, we could do again. I think the record was about that. It was about exploring what we had been through over the last few years and where we were at generally at at the moment, how we had progressed or declined or, you know, what was, what was feeding our inspiration at that point, uwas really the discovery, you know, really was, trying to find out what had been going on, you know. And, uh, so the album has a lot of, uh, I guess maybe more introspective soul searching kind of songs on it. And I think it’s the first record that we ever made in my mind that sort of captured a mood and kind of stuck with it, you know, which I wanted to.

I Heart Guitar: Well it’s interesting too because a lot of bands would come out of like a really big success like Empire and the next album would have been very literally about, “Oh yeah, the music industry is a hideous bitch goddess” and all this. Whereas as you said, it was more introspective, I guess it was about how you felt about what was going on rather than just describing what was going on, which there are so many albums out there like that which are like “Oh, I’m disillusioned because the music industry is different to how I thought it would be at this level.” But instead you didn’t do songs specifically saying, you know, “this is where our careers are at.” It was, “this is how I’m feeling.” And so that I think allows people to apply their own experiences to it, even though their experiences might be nothing like, what inspired it.

Geoff Tate: Yeah. That’s an interesting way of looking at it. A lot of people thought it was just too fucking melancholy.






Where to Start When Tracking Your First Demos

It’s safe to say that breaking into the independent music production game comes with its fair share of hurdles, especially when a great majority of DAWs (digital audio workstations) don’t come with very thorough instruction manuals. But when you finally do get your head around your chosen DAW, you’ll be greeted with a whole new challenge: tracking your first demo. Here’s all you’ll need to know to get the ball rolling.

© Shutterstock

Recording tracks

There’s a fair amount of hardware required when it comes to actually recording your tracks, and it pays to invest in the best quality equipment from the get-go. This means investing in instruments that boast seamless digital integration like Fusion’s rosewood guitar, MIDI controllers for harvesting some funky, experimental sounds, and finally a suitable vocal recording microphone, the sourcing of which is generally easier said than done. You may find that you’ll need to use different microphones for different genres, just as you may find yourself using a broad array of instruments or instrumental effects in the same contexts. Know that this is just as normal as playing around with solid-state or tube amps at any point in your journey, and that not everything needs to be state-of-the-art to produce the sounds you might be looking for.

Colour-code your tracks

Just as an organised room reflects an organised mind, an organised DAW will greatly simplify the process of independent production. Colour-coding your tracks will ensure that all your separate elements will be easy to find and use, and even easier to critically assess. And although this article is largely about tracking your first demo, it’s a good rule of thumb to think about establishing this good habit right now as it also pays to be consistent from track to track and from instrument to instrument. For instance, get into the habit of selecting a specific set of hues for a specific set of instruments. Purples could be used to indicate drums, reds for guitars, blues for brass, and so on and so forth. Developing these visual associations alongside your sounds will definitely make independent music production feel like second nature in next to no time at all.

Experiment consistently

Finally, the word ‘experiment’ has been used sparingly throughout this article, and for good reason: you should always be doing it. The whole process of music production is reliant on experimentation. Playing around with MIDI controllers and instruments and getting to grips with all your chosen tools, all of this should be viewed in the same lens as you would a jam session with friends. The fantastic thing about music production is that when you have a passion for expression through music, it should rarely feel like work and constantly feel like learning. The only time it should feel like work is when you’re editing, and even then, you should still be experimenting. The structure is only a framework for creation. Expression is creation itself.

And remember that there’s no set timeline when it comes to music production, unless you’re challenging yourself and have decided to set yourself deadlines and other personal goals. Even so, it’s not wise to set yourself deadlines when you’re just starting out because you don’t want to limit your exploration too much. You should allow yourself to take as long as you’ll need on your first track until you feel proud of your end result, and then be sure to spread it out there because it’s no good for you gathering dust in an external hard drive. Share it with your friends, post it online, get your feedback, and move on to your next project!

David Bowie’s ‘Stay ‘97’ hits streaming services on Friday



Parlophone Records is proud to announce ’STAY ’97′ the third instalment of DAVID BOWIE’s IS IT ANY WONDER? EP of six unreleased and rare tracks being released once a week.

’STAY’ originally appeared on the ’Station To Station’ album in 1976 and was released as a single in North America and Japan in August of that year.

The previously unreleased 1997 re-recording of ‘STAY’ began at The Factory in the Dublin Docklands during the pre-Earthling tour rehearsals while David, Mark Plati and Reeves Gabrels were preparing the backing/sequencer tracks before the rest of the band arrived, and the rehearsals started in earnest.

David wanted to ‘update’ some of his live show staples so they would sit well sonically with the Outside/Earthling material. The recording was completed later, potentially for use as a ‘B-side’, and mixed at Right Track Recording studios, New York in May/June 1997.

’STAY ‘97’ is produced by David Bowie, co-produced by Reeves Gabrels and Mark Plati, and mixed by Mark Plati. The track features Gail Ann Dorsey on bass and vocals, Mike Garson on piano/keyboards, Mark Plati on programming/keyboards, Zachary Alford on drums and Reeves Gabrels on guitar/synths


Faith No More will play a benefit show for Australian bushfire recovery because they are beautiful angels.

From Faith No More’s Facebook:

“Reading the news about what’s been happening in Australia has been heartbreaking, It’s hard to even comprehend the scale of damage; hopefully this small contribution on our part can make a difference somewhere.”

So all proceeds from their show at O2 Apollo in Manchester in June 9 will benefit relief funds WIRES and CFS Foundation.

Thank you, guys. ❤️

Sire introduces the Larry Carlton series

Sire, who has an incredible series of Marcus Miller signature basses, just has teamed up with none other than the legendary Larry Carlton for a new series of guitars based on some established classics – ES-335, Les Paul and Stratocaster – but with their own unique twists. There isn’t much info yet other than US price and general release dates but here’s what we’ve got so far:

The new Larry Carlton Series, SIRE H7. Available this 2nd Quarter of 2020 for $699.

The new Larry Carlton Series, SIRE L7. Available this 2nd Quarter of 2020 for $599.

The new Larry Carlton Series, SIRE S7FM. Available this 2nd Quarter of 2020 for $699.

NAMM 2020: IK Multimedia Sunset Sound Studio Reverb

Y’know the legendary reverb heard on Eddie Van Halen’s guitar tone from those classic albums recorded at Sunset Sound Studio in Los Angeles? Yeah, that sound can be yours now thanks to IK Multimedia, who have worked with studio owner Paul Camarata to capture those iconic sounds. Check it out!

The NAMM Show, January 17, 2020 – IK Multimedia presents Sunset Sound Studio Reverb, a new T-RackS® module processor that brings the reverbs and sounds of the studios in the iconic Sunset Sound recording facility in Los Angeles to musicians everywhere. Sunset Sound Studio Reverb is the first convolution reverb for IK‘s industry-standard T-RackS 5 mixing and mastering software workstation.

IK worked in collaboration with studio owner Paul Camarata to give recording engineers “all access” to the sound and vibe of the studios in this landmark facility, where a who’s who of music has recorded for 60 years, including the Doors, the Rolling Stones, Janis Joplin, Joe Cocker, Led Zeppelin, Van Halen, Prince, Aretha Franklin, Rage Against The Machine, Audioslave, the Red Hot Chili Peppers and countless others.

Studio owner Paul Camarata notes, “For 60 years, the sound of our studios has been heard on hit records around the world. Now, we’re proud to be working with IK Multimedia to bring our famed sound to everyone’s recordings. Sunset Sound Studio Reverb really nails the essence of our distinct character.”

Each room of Sunset Sound’s three studios was recorded using its custom console and Sunset’s mic collection, to capture not just the acoustics but also the unique vibe of the space. IK recreated them using a powerful new dynamic convolution engine, and the result is a faithful studio quality reverb that offers the same iconic sound as countless hit records, complemented by an array of flexible control options for further tone shaping.

Abundant reverb
Users can select from among the various reverbs taken from the live echo chambers and each of the three studios found in the facility. The choices are:

  • Live room: Studio 1, Studio 2 or Studio 3
  • Iso Booth: Studio 1, Studio 2 or Studio 3
  • 3 Live echo chambers
  • 2 plate reverbs and 1 spring reverb

Control it all
An intuitive GUI provides a realistic experience, offering information and insights about each particular room, as well as additional controls to help users shape the sound to suit their tastes. Additional controls include:

  • Adjustable decay time and pre-delay
  • High-pass and low-pass filters
  • Low and high shelving EQs
  • Stereo image width
  • Wet/dry mix

and more.

Flexible use
Like all T-RackS modules, Sunset Sound Studio Reverb can be used as an individual plug-in within any recording software, or inside the T-RackS 5 shell for even faster workflow both as plug-in or stand-alone mastering software.

About T-RackS
T-RackS 5 is the latest version of IK‘s industry standard mixing and mastering software workstation that has been used on countless albums by top engineers for more than 20 years. This powerful modular system offers maximum versatility via 43 high-quality processors (EQs, limiters, compressors, etc) that can be used in parallel or series, in a variety of working environments. In total, T-RackS 5 offers everything needed to professionally treat and finalize audio from raw mixes to a perfect finished product. For even more professional results, each version of T-RackS 5 also offers free downloadable signature presets from some of the industry’s top engineers.

About Sunset Sound Recorders
Sunset Sound was opened in 1958 by Tutti Camarata, then director of recording for Disney Studios, and initially handled in-house work for Disney, recording movies like “Mary Poppins” and “101 Dalmatians.” In 1962, Sunset Sound opened to external clients, and soon expanded to a 3-studio complex, welcoming artists like The Doors, Joe Cocker, the Rolling Stones, Led Zeppelin, Van Halen, Prince and countless more. Now owned and operated by Paul Camarata, Tutti’s son, Sunset Sound continues to welcome world-class artists to its iconic rooms. All three original rooms remain in operation, and with their custom acoustics and consoles, fully equipped echo chambers and comprehensive mic lockers, Sunset Sound remains a dream destination for musicians.

Pricing and availability
Sunset Sound Studio Reverb for T-RackS 5 will be available in January 2020 from the IK Custom Shop, the IK Multimedia online storeand from IK authorized dealers worldwide for a special introductory price of €/$149.99* until March 31, 2020 (regular pricing will be €/$249.99).
* All prices excluding taxes

For more information about Sunset Sound Studio Reverb, please visit:

To see Sunset Sound Studio Reverb in action, visit:

To hear audio samples, visit:

NAMM 2020: Steve Vai’s new Synergy Amps module is badass

You may remember a few months ago I wrote about Steve Vai’s official move to Synergy Amps. Well the Steve Vai module was officially unveiled at the NAMM Show and yes of course it’s on the top of my gear wishlist for 2020 but until I can get my paws on one, here are some videos for ya! Needless to say, it sounds incredible. Keep an eye on Synergy Amps for more info soon.