Don Miggs’ Canyon Studios East has recently renovated its facility featuring the PhantomFocus System (PFS) monitor tuning protocol and ATC monitors in both its A & B PhantomFocus MixRooms.

Studio B has a redesigned front wall to accommodate the soffit-mounted ATC SCM45A Pro monitors, while Studio A has a free-standing PFS/ATC SCM45A Pro system utilizing PhantomFocus Monitor Stands by Sound Anchors, both enhanced with a PFS implementation.

A refurbished Electodyne console with additional racks of gear and a spectacular dual-path stomp-box console array, new fabric, carpet, and a newly envisioned kitchenette and machine room, round out the facilitiy’s upgrades.

“We’re delighted to help Don enhance his already stunning MixRoom Studio that we originally designed for founding member of country super group Rascal Flatts, Jay DeMarcus over a decade ago. It’s always gratifying when you can over-deliver to a client and The PhantomFocus System is a silver bullet when it comes to that goal.

Although CTD is noted for it’s PFM line of near-field monitors, the larger ATC SCM45A Pro monitors are in a different class altogether and frankly, one of my favorite speakers to implement in a PhantomFocus System which can be quite breathtaking.” stated PhantomFocus MixRoom Studio designer, Carl Tatz.

Don Miggs, Canyon Studios East owner, producer, engineer, musician and artist shares:  “I loved my studio. I loved how it sounded. I was wrong. I couldn’t even imagine how much the audio performance could be enhanced until Carl installed his PhantomFocus System with my excellent existing ATC SCM45A Pro monitors.” Miggs continues, “What stands out about this system is its sheer transparency, it captures the source exactly as it is. The sound is remarkably clean, for lack of a better word, and it maintains that clarity whether I’m working at high or low volumes, which is crucial for me. I also notice significantly less ear fatigue, which isn’t always the case with other systems. Whatever Carlhas done here truly feels like a magic trick.

Mark Needham, a regular client and multi award-winning record producer and engineer who makes Canyon Studio B his second studio home in Nashville comments: “I want to sit down in front of my speakers and know that every choice I make is correct.  Carl Tatz’s PhantomFocus System with the ATC SCM45A Pro monitors gives me that confidence.”

Canyon Studios East long-time house engineer Nick Lane explains his PFS/ATC experience this way:  “I’ve loved working on ATCs for years but the PhantomFocus System has recently been a game changer at Canyon. All the neutral, revealing nature I’ve come to expect from ATC but now perfected for the room. It’s not like other room tuning software or hardware that drastically changes how the speakers sound, none of the “too pretty” or “too hyped” thing that engineers dread.

Everything just gets subtly more defined and more immersive. Getting sounds for the first time on the ATC SCM45A Pros with the PFS was the easiest it’s ever been in that space. Just crystal-clear audio that let’s me make engineering decisions instinctually instead of wondering how the room was impacting what I was hearing.”

The post PhantomFocus and ATC at Nashville’s Canyon Studios East appeared first on Audio Media International.

What do Prosecco, Minions, and a neon horse have in common? Reading Festival’s hottest new acts won’t tour without them. By Bex April May

This much we learn backstage at Reading Festival 2025 – where we caught up with some of the most exciting, viral and critically-acclaimed names in pop, indie and rock right now: Pale Waves (above), Nieve Ella, Antony Szmierek, Nxdia, and Del Water Gap. Between bottles of bubbly, vintage chorus pedals, and bizarre warm-up rituals, they opened up about the tools and quirks that keep their shows running and their next viral hits coming – from guitars, to mic essentials and boxes of Minions.

From songwriting secrets to festival antics that almost ended in jail, Reading’s breakout stars had plenty to confess when we caught them backstage…

What can we expect from your show?

Pale Waves: Heather strutting. Charlie grinding. Lesbians. Us damaging our necks. Jealousy is probably our favourite to play live, because it’s so unhinged. We often play it last, and break the bass on the floor all the time. It feels like the right thing to do.

Nieve Ella: Fun. Most of these festivals recently have just been joy. Everyone’s jumping and singing – just a good time. My band are my best friends, so we just project love and happiness.

Del Water Gap: It’s like an AA meeting. No, just kidding! I sing, I jump around. Sometimes I wear slutty clothes. Today I’m more covered. Sometimes I’ll say something wholesome, sometimes I’ll say something funny.

What’s a particularly memorable festival that stands out for you?

Pale Waves:  When we last played Summer Sonic in Japan. We love Japan. Very sweaty. For antics though, Riotfest in Chicago – Charlie had a house window key and realised it would fit in a buggy. We had a go – we got chased by the buggy police, and we nearly ran over Gerard Way from My Chemical Romance as they were getting on stage. We could’ve run over one of the biggest singers of all time. We’d have had a lot of angry emos after us. And gone to jail.

Tells us about the gear you bring when you’re touring festivals – what kit do you have on stage?

Pale Waves: Always my Vox Phantom guitars – I can’t go anywhere without them. They’re part of me. We also have very specific picks. I use three different ones for different things. If they’re not on stage, I kind of freak out.

Nieve Ella: We take a massive van, and try to shove everything we’ve ever owned instrument-wise in it. I take five guitars. And do you know what else we’ve been bringing around? A massive cardboard box of Minions. People give us Minions – and we just collect and collect. This is our last festival today, so now I’m going to go home with this box of Minions. What am I going to do with them all? I’ve got four boxes at home already. I think I’m going to give them to a charity shop. I want them to go to a good home. Plus, every single show, someone has Minions face paint on.

Antony Szmierek: It’s a full band. It could have easily just been me, a microphone, and a backing track, but I was determined it wasn’t going to be that from the beginning. So, we have a live guitar – my brother plays guitar in the band. We have live bass and synth bass, and then we’ve got Robin at the back with drum machines and synth, where the drummer would usually be. It’s quite a unique setup – I’ve not seen many people do it.

Del Water Gap: I bring a neon horse. It’s called Horse With Bowl Cut. He’s my logo. I drew him on a napkin, and he’s exactly what he sounds like: a horse with a bowl cut. He lives on stage, and he is my spirit animal.

Any other must-haves in your kit that you always take with you?

Pale Waves: A bottle of Prosecco. And a fan!

Antony Szmierek: Guinness is the only thing we always ask for.And I’ve got this weird old Australian vocal coach that I watch on YouTube to warm up. It’s from 1983 and he’s got weird Windows Movie Maker screens. He goes through a vocal warm-up which I don’t really need, but it just makes me feel calm. He’s called Andrew Castle. He’s my guy.

Del Water Gap: A toothbrush.

Nxdia: A coffee place nearby. Sometimes you need to go and touch grass. And I just need caffeine.

Tell us about your songwriting process – how does an idea turn into a hit that a festival crowd are singing back to you?

Pale Waves: It starts differently every time. Sometimes a melody comes to me, sometimes a lyric or a concept. Once that original idea is there, everything falls into place. The worlds merge together with the music and songwriting. You need a twinkle, nice chords, and some yodelling –  that’s a Pale Waves song.

Nieve Ella: There’s four of us, and recently, we went to a house in the middle of nowhere – on an airfield in Maidenhead – for a week, shut ourselves away and wrote, then recorded them in the room together. It’s just being around my best friends really.

Nxdia: Every time I’m in the studio, I close my eyes and if I can’t imagine this live – with drums hitting, with guitars – I’m not interested. I want moments that will translate that way.  So when I’m writing, I try to make it as personal as possible, but also something I can scream. I want to really enjoy that, and hopefully someone else has a cathartic moment and thinks, ‘I’m so happy I get to scream this!’

Del Water Gap: I’m a slow writer. I think I cracked it on this album. I did some writing trips with Gabe Goodman, who I write with a lot. For me, it’s about making space – no phone, no internet, just trying to have peace and quiet. And then as the noise comes down, usually some sort of miracle happens. We spent time in Mexico, we went out to Long Island and did some writing on the beach. I love reading poetry too, that always helps me get in the mood.

Antony Szmierek: It’s strange – you can’t manufacture that beginning bit. For me, it all happened by accident. I was a teacher for a long time, and the first tune that got on the radio, I didn’t think about it at all. It was just a monologue over a loop – no overthinking. But now, when you know people are going to hear it, and you’re going to perform it to thousands, you start to think, “This bit will be great live.”I write all the words first, then tunes. I don’t know many people who do it like that. I’ll have a complete story written, then I think, how do I either cheer it up with music if it’s too sad, or make it more sad if it’s too chirpy? I like to see-saw them out a bit, but I couldn’t teach it. It’s just an intrinsic thing that happens. If I overthink it, it’s like trying to remember your PIN number – if I think too hard about it, it just leaves me.

What about in the studio – what’s your must have bit of kit?

Pale Waves: Definitely all the guitars, and a chorus pedal. Last time in the studio, we bought two of the same chorus because we thought we’d lost it. We ended up with three between us – it was this vintage chorus from the ‘90s.

Nieve Ella: I used to write with my guitar a lot, but now I don’t even use it. I used to want my Fender Jag-Stang to be the sound of my music. But for the newest stuff I’ve been creating, like my new single ‘Good Grace’, I didn’t play a single instrument. I just have to have a mic in my hand the whole time. I’ll just record and record and record until I’m happy with what it sounds like. I’ll jump around the room with a mic in my hand the whole time. Then I’ll also have a Guinness.

Antony Szmierek: It’s usually just me. A producer is my big bit of kit. I’m aware I’m really annoying. I’ll sing into my phone a guitar line, asking it to be like that, and they’ll ask what key it’s in, and I’m like, ‘How the f*ck should I know? Can we just make it?’ So someone who understands me as a human is the most important thing. I’ll sometimes try to get demos as far as I can on my own, but I’m not a producer. I’m quite shit. I need a human person. And a comfy chair – I like to swing my legs around, so a spinny chair helps as well.

Nxdia: Obviously a guitar. Either my sh*tty Ibanez Iceman – it’s so old, it was so cheap, some guy gave it to me – or a notebook. I need it so I can doodle, write down what I’m thinking. As long as I have a notebook and a little Strat, I’m fine. Then, I love the Shure SM7B mic. I think it’s great. I need a mic I can feel close to. All mics have different sounds, but the SM7B is my favourite.

You’re part of this new wave of cool, alternative grunge pop artists coming out in the UK. It feels like there’s a resurgence. Are you seeing that in the genre?

Nxdia: Recession pop – I’ve seen that a lot. Hopefully I’m part of it. I think people are angrier, and people are actually putting out what they want. I’m seeing more indie artists, more people finding avenues outside of the traditional music path. I get so excited at festivals because I know I’ll bump into people I love, I’ll see friends I love watching perform, and I’ll find new acts. It’s amazing – like being in a school canteen, in a really good way.

You’ve had hits like your single ‘Feel Anything’ go viral and trend on TikTok. What are your thoughts when it comes to TikTok and musicians?

Nxdia: I completely understand why people might find it stressful, and I do get the aspect of it that could feel draining. However, I love social media. I think it’s f*cking cool. It’s a good way of connecting with people. You reach parts of the world where you wouldn’t otherwise. I like being able to decide what I’m recording, what I’m posting, what I decide to share. Half of it’s obviously daft, but I really enjoy it, and I’m finding it more and more interesting as time goes on, because it changes a lot. I think it’s fascinating. It’s a whole different beast.

What’s one song you wish you’d written but didn’t?

Nieve Ella: Probably ‘Don’t Delete the Kisses’ by Wolf Alice. That’s one of my favourite songs.

Pale Waves: ‘Linger’ by The Cranberries.

Del Water Gap: Beethoven’s Ninth. Imagine if I could say I’d written that. Or ‘My Way’ by Frank Sinatra. I played my first album for my grandma when I finished it, and she said it was bad. Then she played me ‘My Way’ and said it should be more like that. So I’ve always had a bit of a chip on my shoulder about ‘My Way’.

If you had to swap lives with another band or artist, who would it be?

Pale Waves: Coldplay – playing stadiums everywhere in the world. But then they have a family vibe. We want to be rowdy too.

Nieve Ella: I’d love to swap with Amyl and the Sniffers. Their life is completely different to mine. The music is so different. I don’t know how they keep up so much energy.

If you could collab with anyone, who’s the dream?

Pale Waves: If I’m going totally unrealistic – well, maybe not too unrealistic – Robert Smith.

Antony Szmierek: I really want to do something with Wet Leg. I really like Rhian’s voice – she’s got a spoken word-y bounce to her voice. I haven’t asked her yet. I met her in a pub recently, so I need to ask her. I really like Lambrini Girls and Soft Play. They’re a few people who are making important music that feels like it’s about something. That’s who I’d like to work with.

Del Water Gap: There’s this children’s singer in the US called Raffi. It’d be cool to work with him, because it’s so random. I don’t know if he even plays music anymore. The first cassette I ever had growing up was Raffi. My parents don’t believe me that I have a career; they think I’m a total bum. But I think if I collaborated with Raffi, they’d actually believe I have a career, because they know who that is. That’s the goal!

The artists spoke to us at Reading Festival. Sign up for Reading 2026 at readingfestival.com

The acts of Download 2025 reveal their must-have gear and talk music making

Oasis at Cardiff Principality Stadium review, July 4th 

The post Pale Waves and Reading’s hottest new acts talk festival antics, their kit must-haves and songwriting secrets appeared first on Audio Media International.

16 years since the infamous bust up, Oasis reunite for a world tour of epic proportions. The stakes have never been higher. Audio Media International was there for the first gig. 

Arriving in Cardiff on Friday 4th July, there’s a feeling of celebration, pride and fun in the air. Notably, there’s a good chunk of fans not old enough to have seen Oasis in the 90’s. Even Pitchfork admit to not being there first time around. 

Instead of the football style crowds that marked the inconsistent 00’s Oasis gigs, this is a different gathering. Perhaps this is to be expected as UK charity Music Venue Trust recently reported that most of the British independent venues Oasis played in 1994 no longer exist and, such is the hype around this reunion, the venues that mark the Oasis Live ‘25 tour have more in common with a Taylor Swift trip around the world.

The first action the giant U2-style stadium screens see are extended Oasis themed videos for Range Rover and Adidas.  It matters little to the die-hard fans. Sure, amongst the crowd 90s bucket hats and tattoos of the Gallaghers’ faces mix with a handful of nationalist torsos wearing flags, but these are outnumbered by fans who are here for the music and the songs rather than a nostalgia trip or a nationalist agenda. The Temu tees display classic song titles, classic lyrics and live photos. This is all about the live experience. 

And live Oasis is what has made the band, more so than any distant contemporaries of the Britpop era. Whether it’s the electrifying, punk blitz of classics like Rock ‘N’ Roll Star or the confessional Talk Tonight, no other band has ever managed to create a live experience quite like it. The love songs and the raw rock, the orchestral anthems and the soul searching ballads. All are present tonight.   

Cast open up and then a punchy Richard Ashcroft acts as hype man for the main event – to better effect. 

Tonight in Cardiff, every song is largely a greatest hits run for Oasis fans. It’s chosen by the band rather than Spotify data or Tiktok metrics perhaps. Bring it On Down and D’ You Know What I Mean certainly aren’t on the most requested list by the fans but here, they make sense in a set list that is well paced and relentless. No deep cuts, no new songs, no reimagining of a classic with a special guest. This is stadium rock rewritten to fit the wishes of the band and convention be dammed. 

The opening warning is the brief playback of Fuckin’ in The Bushes, a 2000 era cut offering a mix of Hendrix loops and archive quotes from the Isle of Wight Festival. The 70s Isle of Wight documentary snippets perhaps have new relevance tonight – “We put this festival on, you bastards, with a lot of love. We worked for one year for you pigs. And you wanna break our walls down?”

From the start, between song chat is kept to a minimum. Liam snarls and swaggers, having perfected this in large venues as a solo artist since 2017.  Noel stares at his new guitar in silence with a hint of nerves but soon finds his place on the big screen. He closes his eyes, looks up and smiles to himself at points, perhaps remembering the feel of a stadium rather than the smaller venues he’s decided to play solo (with Crazy Horse style companions High Flying Birds) since 2010.  

“We’re hard work. I get it” says Liam,  offering apologies for decades of botched gigs. Things get so professional that Noel introduces the band, including “our 14th drummer, Joey Waronker”. 

The Cardiff stadium sound set-up sounds even bigger than the stadium Oasis of old and the songs have been pulled apart and polished to sound their very best. Noel is arguably a better guitar player in 2025 than in 1994 and Liam’s voice is still a snarling force, pushed to the limits tonight. Paul Arthurs, Gem Archer and Andy Bell make up a band that, alongside new drummer Joey Waronker, create an impressive line-up which offers an epic sound, no errors and songs so rehearsed, you wonder how many weeks they’ve spent in rehearsals. It’s worth noting that the development of live sound technology has changed massively since 2009 too, helping any re-formed rock band and the set-up at Cardiff is a testament to that. That’s despite the human element of the sound system blighting support act Cast for the first couple of songs. 

The rapid run through of the hits leave no room for a lull. Even a brief Noel acoustic interlude (Talk Tonight, Half The World Away) doesn’t stop the momentum. There’s no extended guitar solos or distorted, swaggering intros of old but this is a band that wants to put these songs back on the world stage and celebrate them. The covers of past Oasis sets (Beatles, Neil Young, The Jam) are absent and while critics would argue that set opener Hello and a propulsive Cigarettes & Alcohol are part covers themselves (Gary Glitter, T Rex) these anthems take on a new life tonight.

It feels like the first six songs ( Hello, Acquiesce, Morning Glory, Some Might Say, Bring It on Down, Cigarettes & Alcohol) have never been played so precisely, at such volume and with such intent. Bring It On Down precedes Cigarettes and Alcohol and the double K.O creates the most frantic reaction from the floor. Shoes are lost in the surge, crowd surfing starts, beer becomes airborne and some startled fans retreat to less turbulent patches of the crowd. 

The crowd reaction isn’t unlike this correspondent’s first Oasis gig in the 90s so perhaps it’s no surprise. All of the set list songs (bar 2022’s Little by Little) were released between 1994 and 1997. While those songs are older than some of the audience, they have aged well and naturally grown in status during Oasis’ fallow years as music streaming took off just as Oasis imploded.  

Cardiff is a success but the biggest achievement of the band tonight is satisfying fans old and new, a balancing act that will be fascinating to watch as Oasis begin to circle the world once again…

SET LIST

Hello
Acquiesce
Morning Glory
Some Might Say
Bring It on Down
Cigarettes & Alcohol
Fade Away
Supersonic
Roll With It
Talk Tonight
Half the World Away
Little By Little
D’You Know What I Mean?
Stand By Me
Cast No Shadow
Slide Away
Whatever
Live Forever
Rock ’N’ Roll Star

//

The Masterplan
Don’t Look Back in Anger
Wonderwall
Champagne Supernova 

The post Oasis at Cardiff Principality Stadium review, July 4th  appeared first on Audio Media International.

LA based music journalist Lily Moayeri spoke with Moby in 1999 – the same year that his landmark Play album came out.  This article continues our From The Vault series of interviews. Crucially, this interview was conducted before Play had been released. 

To set the scene, a few years earlier, Moby’s rock album Animal Rights had been released, and after its launch he had been dropped from his label. Several labels rejected Play and at launch it entered the UK Top 40, but it wasn’t until several key tracks were licensed for commercials that global sales picked up.  

A critical success at launch, the TV commercial exposure eventually gave Moby a mainstream audience and Play remains one of the biggest selling electronica albums of all time. It is also listed as one of the 500 greatest albums of all time by Rolling Stone.  

In 2025, we know the impact it had on music makers, sampling and blending live instruments with music samples. For those involved in making music, the impact of Play can be felt clearly 26 years on.  

Below are extracts from the interview and you can find more from Lily and her archive podcasts at Pictures of Lily. 

On the recording and music making process 

Regardless of what type of what type of music I’m working on I use the same equipment. Whether I’m making a techno record, a punk rock record, classical music, or whatever type of music. It’s all made just by me and in my studio with the same equipment. I’m not a technophobe at all, but then I’m not a technophile either. From my perspective, I’ve never really changed. Because I’ve been making music since I was eight years old and my musical background is really weird and varied, I’ve never really chosen one type of music at the exclusion of anything else.  Even when I was known for making dance music, I was still making different types of music. It’s just that the label that I was signed to wouldn’t let me release it.  You know, when I made Go I was still playing drums for punk rock bands, and I was still writing quiet classical music at home. I just didn’t have the way to put it out. I guess it’s eclecticism, if that’s what you want to call it, but it seems like my natural way of making music. I don’t think of it as eclectic, like with this album Play.  

On Success 

I hope this doesn’t sound like bad musician cliché, but I think I define success differently than other people might define success.  I mean, I’m the most fortunate musician in the world. I live in New York. I own my own house and record in the studio, and I have enough money to take my friends out to dinner. I’m able to work with some of my heroes and I’m able to make music, right? To me, that’s wonderful success. But when I started making records my expectation was to sell a few thousand records. So I can’t complain.  As shy and retiring as I can be, I quite like being the centre of attention. 

On Play 

There are songs that are based on these old vocals that were recorded in the early 20^th century: Honey, Natural Blues, Find My Baby and Why Does My Heart Feel So Bad? and Run On. The vocals for those songs were recorded in the 20s, 30s and 40s. The other songs that have vocals are me singing, except for the last one – My Weakness – which is from a church service in Africa. The vocals – the ones that I sing live and the ones that involve the old samples, I don’t know what I’m going to do. I think maybe I’ll have to rework them so they’re not quite so vocal heavy. I can remix them so the vocals are more part of the track, as opposed to being the focus of the track. 

On Axl Rose and asking him to produce Guns & Roses 

Well, I met with him and he asked me to produce their next record. We had a really nice rapport and a nice time together, and he played me the music they’re working on. It was really nice. I liked it.   But I don’t see myself as a producer. I think of myself as a musician. That’s all I’ve done for 25 years, so A. I’m not qualified to produce a Guns & Roses record and B. I like making my own records – I don’t want to give that up to work on someone else’s record.  I don’t know how they work. Axl works really strangely. He’s very talented and I like the music they’re making, but they work very slowly. I like to work very quickly, so it might have been a tense working relationship as it progressed. At the time, it was Axl and Duff and a bunch of guys who had not been in the original band. 

On going out 

In New York, all of the big dance places are really far away. On the west  side, like Tunnel, so only tourists go there. I’m quite provincial so If I can’t walk home from somewhere I get reverse claustrophobia. I went to see U2 a couple of years ago in New Jersey and I was sitting there and I was kind of bored and if I was in New York, I would just go home but I couldn’t. I don’t have a driver’s license so I can’t drive.  

On study 

I did a philosophy major and a photography minor but I dropped out and made music. I went to two different schools and went part time and full time – I guess I’d be a junior if I went back.  

Beck on writing, production and albums in the streaming age at SXSW

FROM THE VAULT: Veteran recording engineer John Kurlander on working with The Beatles at Abbey Road

In the studio with Steve Aoki “I don’t want any clocks in the room. Like Vegas”

SUMMER OFFER: GET A MONTH OF ADVERTISING ON SITE, NEWSLETTER AND SOCIAL FOR £999, $999, €999

The post FROM THE VAULT: Moby talks music and making landmark album play in 1999 appeared first on Audio Media International.

We hit Download Festival 2025 for exclusive chats with the acts defining rock in 2025.

From stage legends to rising stars, here, Audio Media International goes backstage at Download Festival with some of the most exciting names in rock and metal for an all-access look at their gear, songwriting, and touring life. 

Bex April May caught up with Zach Myers of arena rock titans Shinedown, viral guitar virtuoso Sophie Lloyd, and pop-rock powerhouse LOLO, plus alt-rock trio Arrows in Action, new punk provocateur BEX, and Ukrainian metal heavyweights Jinjer. Also joining us: melodic Swedish death metallers Orbit Culture, your new favourite Brazilian punk rocker, Karen Dio, and extreme metal icon Dani Filth of Cradle of Filth. 

From making metal mega hits for farmers, to TikTok fatigue and dream collabs, this is the unfiltered, on-the-ground download… from Download. 

Let’s talk guitars. What’s your setup on tour, and what guitar do you have today? 

Zach Myers [guitar], Shinedown: I have about 20 guitars today. It’s a giant rig with Synergy power amps and a Fractal for effects. My rig is analogue and digital: Martin acoustics, and my signature PRS guitar. There are two guitar vaults on stage! 

Sophie Lloyd: My absolute favorite brand is Kiesel Guitars. They’re a California-based brand, and I actually have my own Signature Series with them. I was the first female to get a signature series with them, which was really cool. I have my SL6X and SL6, which are so much fun. The SL6X has a Sustainiac system, which makes the craziest, silliest noises. You can shred for days on it. 

Arrows in Action: We love Fender Telecasters forever – especially the Chris Shiflett Fender Telecaster. 

Lolo: I have a few Teles, but my favourite Tele is my first one. It’s a black one, American-made, it’s really cool. I always take that on stage.  

Eugene Abdukhanov [bass] Jinjer: The guitar I’m playing now is my favorite – it’s a Mayones Jabba 5. I’ve just switched to them as an endorser, and it’s the best instrument I’ve ever had. It’s comfortable, looks amazing – almost like a classical jazz bass but with muscles – and most importantly, the sound. It’s super responsive, especially in the mid-frequency range, which cuts through the guitar wall. That’s crucial when you play metal. It fits my style perfectly.  

Karen Dio: I keep it very clean on stage. I just use a tiny distortion pedal and a tuner, that’s it. I’m very basic, because my focus is more on singing and playing. But I love guitars – I love SGs – and that’s what I have on stage. I like distortion, and that’s it. You’re not going to see me doing loops or anything. I appreciate that stuff, but it’s not my thing.  

BEX: We have two basses live, and no guitar. So our setup is bass, bass, drums, one vocal. We run through a Quad Cortex, so no amps. We just have this one big box that has everything in it. We just plug in and play, really. 

When it comes to music production, what are your favourite bits of kit, gear, or software?

Arrows in Action: Shoutout to our producer Dan Swank – he’s done almost everything with us since 2019. We use Omnisphere for some really cool sounds. We love a good synth. Love a Kemper amp too. Jesse’s an SJC drums guy. And if anyone wants to sponsor vocal cords, we’re available! 

Niklas Karlsson [vocals and rhythm guitar] & Fredrik Lennartsso [bass], Orbit Culture: Cubase, the DAW.  I downloaded a cracked version back in the day – but I’ve bought plenty of licenses since, so I think I’ve paid it back!  I’ve learned so much from that software. I’ve been using it for 15 years. That’s the most important to me. Then Logic, and the MIDI piano. We love Neural DSP guitar and bass plugins too. When they release a new amp, you know it’s gonna be killer, every time. The Digitech Whammy pedal is always fun. Recently,  we actually bought a real amp for the first time in our career – the EVH 515.  We used it for a month, then said, “Let’s go back to plug-ins.”  But hey – it’s a nice piece of furniture. It looks great! 

Karen Dio:  Right now, I’m using a Lionheart amp, which is what I use on stage as well. When I’m just working by myself, I use GarageBand – it’s very classic. When I want to make a proper demo, then we use Logic. And when I say “we,” I mean me and my husband – we write together. My Husband is Matt from Dinosaur Pile-Up. That’s how we started doing my whole solo career – I was doing my own thing, and he’s helped me out so much. I love him to death. He has loads of plugins inside Logic, and that’s how we work! It’s music all day in our home! It’s a blessing and a curse – but we do it because we love it. 

Eugene, Jinjer: We just plug in and record to a metronome, playing our riffs. We’ve never recorded an album live, though some bands like Opeth do. We might try it someday, but so far, we record each instrument individually and then mix.  

BEX: I’m not techy –  we use Logic and the Quad Cortex for all our sounds, and the bass. We don’t use samples or anything. We use standard PreSonus, a MacBook, and a Shure SM7B mic: simple setup. 

Lolo: I just walk in there and record! I write a lot of my songs just on acoustic guitar in my bed, and then I let my producer turn it into what it is. 

What’s your songwriting process like? How do songs come to life for you? 

Lolo:  I always start with lyrics. I’m a lyrics girl first. I have a note in my phone with all my different ideas. Or sometimes I’ll just write out poems, and I’ll put a lyric melody to it. Then, when I’m feeling that, then I’ll take it to a producer. He somehow understands my language. I’m like, “Make it sound more ‘purple’.” And he’ll say, “Got you, girl.” We have our own language.I’m lucky that he really understands me. It’s easier for me with the acoustic songs. I can explain it, but I’m really bad at production, so I’m lucky to have good producers around me.  

Orbit Culture: In Sweden, where we’re from, we have more barns than apartment buildings. So really we make ‘farmer’s metal’.  We’re very much bedroom writers; DIY. We put on Superior Drummer or similar software, a basic 4/4 beat, and just write away. We don’t really sit together and jam, we build it piece by piece. It’s very raw – pagan, even. Pagan writing and farmer’s metal! We write very simple song structures: intro, verse, chorus.  A progressive death metal fan might think we suck, but we like it, so let us be!  That said, we want the production to be huge, but not too sterile – that’s a problem these days. Everything’s so edited. We try to keep things human.  Even if the production is big, we’ll move files around so it feels natural and alive. 

Arrows in Action: Sometimes someone brings in a melody or concept and we build it together. Other times we start from scratch: just jamming and humming until we hit something we love. Some songs are written in a day, others take weeks. Both approaches are rewarding, and our albums are a mix of both. 

Eugene, Jinjer: Generally, for the last three or four albums, each of us brings a song. We each create a sketch or composition and bring it to the band. Everyone contributes to arranging it. For example, Vlad [drummer] might write a song, I’ll create the bassline, we record a demo, and then Tatiana [vocals] writes the lyrics and crafts her vocal lines.  

What excites you about the state of rock in 2025? Any trends you’re noticing? 

Zach, Shinedown: I think it’s better than it was five years ago. Truly. Look at a band like Sleep Token. I saw them on the fourth or fifth stage two years ago, playing at 4pm – and now they’re headlining the whole Download festival. Bands like Falling In Reverse, Beartooth, Bad Omens – these bands are amazing, and they’re coming up. Rock’s in a better place than it was a couple years ago. 

Karen Dio: I’m very excited to see this new wave of punk rock and pop punk bands coming back; garage rock. There are so many amazing bands. One thing I’ve noticed here is there are a lot of authentic and genuine artists emerging after a long time. Especially now, with AI coming out, I think we’re going to see even more authentic artists stepping forward. 

BEX: There’s such a bubble of new artists coming in. They’re kind of taking over. They have different morals from older rockers. There’s a real nice hustle growing in this new wave of rock and alt punk. There’s definitely a lot of opportunity for new artists. It’s hard because it’s very oversaturated, with lots of bands doing the same thing. There’s a lot of copying and content stealing, which I’m really not vibing with. I want people to be themselves. But aside from that, the OGs are pushing through and getting those opportunities. 

Lolo: I think the rise of new pop-rock or pop punk artists is cool. I think that everyone’s kind of taking a different spin on it. I’d never even really consider myself pop-punk, but I guess I am pop with punk elements. I feel like punk is more of an attitude rather than a genre. What would I consider mine? I feel like it’s pop rock, but I hate describing myself in a genre – I’ve done all these heavy rock, heavy metal festivals, and I’m like, “Hey guys!” and I’m just this girly pop over here! 

Eugene, Jinjer:  I don’t follow trends. I admit I’m old – I just have a few bands I listen to over and over again. It’s hard for modern music to catch my attention. One of the more recent discoveries I liked was Carbon. They just released an EP – sick music. I also like Leprous. 

What would you say to someone who claims ‘rock is dead’?

Karen Dio: They’re just not catching up with what’s going on. There’s always going to be a new rise of artists. New artists are coming, and you just need to update yourself, because there are so many amazing new artists out there. Rock’s not dead!  

Zach, Shinedown: Dude! I play arenas every night. Rock is not dead. There are 40 other rock bands doing the same thing. Rock is very much alive. I dismiss that notion every time I hear it. Anyone who says “rock is dead” is a curmudgeon. Sometimes I think people just say it to get more press. 

BEX: Rock is not dead. Rock never died. Punk never died. No one died – you just stopped listening to it. 

What’s one must-have gadget or bit of tech you take on tour? 

Arrows in Action: An international power converter. A little notebook – sometimes we write ideas that turn into songs, a small travel guitar, which is kind of trash now because of how we’ve treated it, but it’s perfect for writing in the van or in the evening. 

Zach, Shinedown: Other than my phone, my iPad. I watch a lot of shows. And I keep a little portable fan with me, because you guys’s… air conditioning isn’t the best. 

Orbit Culture: Airpods are good. And not a gadget, but my disgusting fucking pillow which has been with me to every continent now. And obviously, Swedish snus. 

How do you feel about social media and the TikTok culture of music today?

Eugene, Jinjer: It’s a bit too much. Everything depends on social media now – on hype, on looks, and creating buzz from nothing. That’s always been part of it, but in the past, it was more about the music. Still, no matter how much I complain, I can’t change it. This is the system we’ve agreed to play in, and these are the rules. I don’t believe anyone can change it now. The system has won.

Lolo: I kind of hate it. I feel like when people make music for TikTok, it never ends up being good – including myself. If you’re trying too hard to accomplish something, it feels inauthentic, and I feel like every artist learns that the hard way. So that kind of sucks. But it’s also a catch-22. It’s amazing for music discovery. That’s how I kind of got more discovered, through TikTok, so I can’t hate on it too much. I think the biggest issue is that all of us artists are now also having to be content creators – and God, that takes a lot of hours, which you could be writing songs or performing or that kind of stuff. Whenever I feel really cringe doing a TikTok, I used to say to myself, “Would Billie Joe Armstrong do this?” or, “Would Mark Hoppus do this?”  But thenI think those people would have done whatever it took to make it. Right now, that’s what it takes. You have to play the TikTok game… so I’m playing. 

BEX: It’s not ideal, but it does open new doors. It’s easy for someone to hear a part of your song and promote your music. Not many bands are flyering or postering anymore. But it creates expectation, laziness, entitlement – the idea that, ‘I posted myself, so it should go viral!’ No! A song going viral doesn’t create real fans, just people who’ve heard 10 seconds of your song. They’re not invested in the journey, just that snippet. 

Orbit Culture: Social media is definitely a friend of ours. Without it, coming from a small town, we wouldn’t be here. At first, we thought, “No one wants to see some big Swedish guy on their screen,” so we didn’t upload anything until our latest single. But that video got 200,000 views. Now, we’ll try more. Times change, tech changes, you have to follow along.  

Arrows in Action: It’s hard to say because we didn’t really exist before TikTok, so we can’t compare. But it’s been hugely beneficial to us.  Each artist finds their own way to use TikTok. It might not be for us in the same way, but it works for others. If this was 20 years ago, we’d be using MySpace instead. There’s always a “thing.” No one calls Panic At The Disco a “MySpace band” anymore – so in 20 years, no one will say “TikTok band” either. TikTok doesn’t factor into our songwriting, but afterwards, we might say, “That bridge into the chorus could be a great 30-second TikTok clip.” Our goal is to write really catchy pop songs that still have musicality and substance. Like our song “All the Ways I Could Die” – it had no music video, no push, but it blew up on TikTok. So, post every song! 

If you could collaborate with any other artist, who would you choose? 

Lolo: Green Day. That would be my dream collab, for sure. Or I would love to write with Taylor Swift. I know that’s the polar opposite, but I think she’s one of the best songwriters of our time. 

Dani, Cradle of Filth: Oh well, we’ve done Ed Sheeran, so I can’t think of anybody else. That was the top! 

Thanks to all at Download Festival. 2026 tickets are on sale now.

Glastonbury’s Acoustic Stage powered by EM Acoustics

Exclusive Interview: Funeral For A Friend’s Ryan Richards, as noughties nostalgia and new blood dominate Download 2024

Waves launch V16 with ‘enhanced workflow and creative tools’

The post The acts of Download 2025 reveal their must-have gear and talk music making appeared first on Audio Media International.

Country music is pouring out into the evening streets – but this isn’t a honky tonk in Nashville, writes Bex May.

It’s Gibson Garage in London’s Soho, where the twang of acoustic guitars and soulful harmonies are giving UK audiences an intimate taste of the iconic Music City. Being held to celebrate Nashville’s music scene and 100 years of the Grand Ole Opry, huge US country stars like Grammy, ACM and CMA award winner Jon Randall, Mickey Guyton, the first Black woman to ever be nominated in the Best Country Solo Performance category at the Country Music Awards, and four-time Grammy-nominated songwriter Jessi Alexander – best known for penning Miley Cyrus’ anthemic hit The Climb – to an intimate UK stage for one night only.

With country music rapidly growing in popularity on our side of the pond, and major acts like Morgan Wallen drawing over 50,000 fans to Hyde Park last summer, the celebration of Southern Hospitality feels perfectly timed.

We sat down with Jessi Alexander for an exclusive conversation about the surprising way music production in Nashville is different to any other, what it’s really like to play the iconic Grand Ole Opry – and why her phone’s ‘torturous’ voice memo app might just hold her next big hit…

The Grand Ole Opry celebrates its 100th anniversary this year  – what’s your connection to that legendary Nashville venue?

Jessi Alexander: It’s the place that every singer-songwriter dreams of playing. It’s the Mecca, especially for people like me who grew up on traditional country music, loving artists like Dolly Parton and Loretta Lynn. Getting to play there is sacred. My husband and I just performed a duet for Valentine’s Day, and we even had our daughter come up on stage. Our son is actually named Ryman, after the Ryman Auditorium. Country music is really woven through our family.

What’s it like performing there compared to other venues?

It’s intimidating and exciting. I wore a white dress this year – it felt like a wedding! And since it was Valentine’s night, it just made sense. You can’t walk into that venue and not feel something. It’s such a special place, so you want to bring a special song and wear a special dress.

We’re speaking to you here in the UK where you’re bringing us a taste of the best of Nashville’s music scene – have you noticed a rise in interest in country music internationally?

Absolutely. I’ve been writing a lot with Riley Green. I saw him open for Morgan Wallen at Hyde Park, and Morgan sold out, I think, three nights. We’re coming back in September for Riley’s own shows. Luke Combs is also doing really well over here. It’s really interesting to see.

From a songwriter’s perspective, why do you think UK audiences are connecting with country music?

I’d love to know! It’s fascinating. Ten years ago, it was more about singer-songwriters like Kacey Musgraves – who is a great talent – but now with this new wave of commercial country, people like Luke Combs are thriving. I wonder what themes or sounds are resonating with UK listeners. I’m really curious about that.

You’ve written some of the biggest country hits ever, like ‘The Climb.’ Can you talk us through your studio setup?

What’s cool about being a Nashville songwriter is how different the process is. We often work in little office buildings on Music Row. It’s a blue-collar, 9-to-5 job. There’s typically no big studio – just a small room, a couple of guitars, and we knock out a song a day. Some producers are bringing in more traditional studio setups, but most days it’s just me, an acoustic guitar, and maybe two co-writers. Honestly, sometimes I laugh – if people saw the little ‘broom closets’ we write hits in!

Do you have a favorite piece of kit or studio gear in those little ‘broom closet’ offices?

It’s really simple: pen, paper, and a guitar. I usually use my Gibson. I live with a guitar player, so there are plenty of options at home! I also rely heavily on Apple’s Voice Memos app – I’m constantly singing ideas into it, even on street corners. And Notes, of course, for lyric ideas. I’ve been working on one song for two days now – it’s haunting me.

Tell us about the process of turning those phone Voice Memos into mega hits…

Oh, it’s torture! Every day is different. Sometimes you don’t even know the artist you’re writing with yet – they could be the next Morgan Wallen. So you sit there, scrolling through awful voice memos, wondering what to play. It’s so vulnerable. Sometimes they’ve already written something similar, and it’s a no. Other times, they say, “That’s exactly what I need.” It’s very intimate, like dating. You either connect or you don’t.

What’s your favourite guitar?

Oh gosh, we have so many. I love our Sheryl Crow model – it’s called the Country and Western model, I think. It’s got a great feel. Today, I’m playing a red Hummingbird from Gibson’s new line. They gave me five to choose from, and I picked the prettiest one!

How do you balance that classic Nashville sound with modern production?

I’m a traditionalist at heart. I’m always drawing from my heroes, trying to honour them. But writing with new artists helps keep me current. Someone like Meg Moroney will mention artists like Sabrina Carpenter, and I’ll think, “I need to do my homework!” In return, I bring old school melodies, like something in the style of Patty Loveless, into sessions. It’s a creative exchange.

You write on the road, too – what’s that like?

I often chase the artist’s schedule. They don’t have much time, so I go to them. I recently went on a retreat with Meg Moroney, a rising country artist. We spent four days writing in a cabin in East Tennessee, and Rolling Stone actually came to interview us. They captured the behind-the-scenes of what it’s really like to write a record. It was very special.

Is there an artist you’d love to collaborate with?

I was nominated for a Grammy this year for Best Songwriter, and there I met the British artist Raye. She has an incredible voice. I grew up singing more melodic stuff like Patsy Cline, so I’d love to work with someone who can handle those big, emotional vocals. Or of course Adele! Honestly, there are so many great talents in Nashville it’s overflowing with the best of the best.

For those just getting into country music – maybe UK listeners – what are three essential songs to check out?

Oh wow, that’s hard! I’d start with Dolly Parton’s “I Will Always Love You.” It’s simple, poignant, and perfect. Then there’s “Whiskey Lullaby” by Brad Paisley and Alison Krauss – one of the most heartbreaking songs ever. And finally, “He Stopped Loving Her Today” by George Jones. Written by the great Bobby Braddock, it’s just iconic.

Jessi speaks to us in collaboration with the Nashville Convention & Visitors Corp. Catch up with the latest at visitmusiccity.com

All images copyright Audio Media International Ltd.

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PLASA Focus Leeds returns to the Royal Armouries on 13-14 May 2025, bringing together the latest innovations and the brightest minds in live events, installation, and entertainment technology. The show will celebrate the people behind the industry, providing a unique platform for learning, networking, and hands-on exploration of cutting-edge technology. You can register now for the show here: www.plasaleeds.com.

With over 175 leading brands spanning audio, AV, lighting, rigging, and staging, the show floor will be brimming with groundbreaking technology and industry-first launches. Attendees can get hands-on with the latest products, connect directly with brand specialists, and build lasting relationships with industry peers.

Lighting professionals can explore leading brands including headline sponsor Ambersphere, alongside Avolites, ChamSys, CHAUVET Europe, Entedi, ETC, GLP UK, Prolight, Robe UK, TMB, and White Light. While Audio specialists will have access to top-quality pro audio from Adlib Audio, Audio-Technica, Bose Professional, d&b audiotechnik, EM Acoustics, Funktion One, KV2 Audio, Martin Audio, NEXO, Shure UK, Solotech UK, and Wharfedale Pro.

Rigging experts can meet Area Four Industries, Doughty Engineering, Just Rigging & Inspections, Rigging Services, Rigging Team, Rope and Rigging, Triple E, and UK Rigging, and for AV enthusiasts, cutting-edge solutions will be on display from Epson, LANG UK, PSCo Group, Riedel Communications, and ROE Visual. Meanwhile, staging innovations will be showcased by Absolute Casing, Drapemakers, Harlequin Floors, and NSP Cases.

New to PLASA Focus Leeds in 2025 are Aber Electronics, Argosy, AV Matrix, Hero Hire, Lightstorm Trading, TAF, Niclen UK, Bridge AV Distribution, Faber Exposize UK, and Greenwaves, bringing even more exciting solutions to the event.

Seminar Programme

The PLASA Focus Leeds seminar programme will offer keynote talks, panel discussions, and technical sessions covering the latest industry trends and practical challenges. Attendees will hear from leading voices in the sector, gain insights into cutting-edge projects, and explore technical and business developments shaping the future of entertainment technology. For those looking to expand their practical skills, the show will also feature immersive audio demonstrations and hands-on training sessions led by brand specialists.

A Brand-New PLASA Focus Leeds App

Following the success of the PLASA Show London app, PLASA Focus Leeds is introducing an enhanced version, featuring:

Digital visitor badges for streamlined entry

A full exhibitor and product list

A detailed seminar schedule

An interactive floorplan with on-site navigation

Seminar and workshop session reminders

Sophie Atkinson, Head of Events at PLASA, shares her excitement about the 2025 event: 

“PLASA Focus Leeds is one of the friendliest and most vibrant events in the industry, bringing together the people behind the technology in a relaxed and welcoming setting. This year, attendees can explore cutting-edge technology, enjoy inspiring talks, and take advantage of countless opportunities to connect with industry peers—whether on the show floor or in our lively outdoor networking area with great food, drinks, and a DJ setting the vibe. We look forward to welcoming you in May!”

Save the date: 13-14 May 2025. Find out more and register for free at: www.plasaleeds.com.

The post PLASA Focus Leeds 2025: Celebrate Entertainment Technology – and the people behind it appeared first on Audio Media International.

Miles Ashton is Technical Manager for the legendary Ronnie Scott’s. As it hits 65 years old this week, we caught up with Miles to find out what’s changed…

Can you tell us about the PA history of Ronnie Scott’s?

When I first came to the club in the late ‘80s it was a – mostly – BOSE system which I think was fairly modern when installed but getting tired. That was then replaced with a system consisting of four very large Westlake studio monitors. Not an obvious choice for a live PA system but it worked pretty well for several years. That was replaced around 1996 with the club’s first d&b audiotehnik system  – which was one of the first installs for d&b in the UK. That lasted, with slight tweaks, until the summer of 2024.

Could you explain more about the new sub array, why it was chosen and how it works in a modern context?

We have a sub array consisting of six d&b E12X cabinets which are evenly spaced in custom-cast concrete chambers under the front lip of our new – slightly raised – stage. They are time aligned to create an arc which distributes the sub very evenly throughout the venue. We can achieve an SPL of 143dB at the back wall.

What are the sonic differences achieved by the new install vs 25 years ago, what tech developments have allowed you to upgrade?

We still have point-source PA. The major difference is the sub. Most of the technology in PA system design in the last few years has advanced the control of the sub with cardioid and distributed arrays which direct the sub where you need it and steer it away from where you don’t.

Has the seating configuration changed based on the new array?

We have slightly more space to the left and right of the stage where we no longer have big sub enclosures, but nothing else has changed in the seating.

How do you record performances?

We record directly from the DiGiCo console using MADI. We’ve used a rented JoeCo Black Box for many years although I’ve just taken delivery of a Tascam DA-6400 to check out.

Obviously, artists and guests have an appreciation for the current sound – how have you managed to keep the feel and what key areas would you say have been upgraded – soundstage, detail, low end etc?

All of the above have had a modern tweak, I would say.

How long to the install take from testing to actual install time?

We had approximately 24 hours from when the building contractor handed back the club!

There’s fewer independent venues in the UK now and even fewer that can afford a modern sound system. Ronnie Scott’s sits alongside the Royal Albert Hall and Spiritland as the best venues to hear live or pre-recorded music. How important is sound in the eyes (ears) of the general audience would you say and has this changed over the years? 

The sound is the single most important part of the presentation of the live music. It always has been, even back in Pete and Ronnie’s time. The d&b PA system was the only thing that re-entered the building after the 2006 refurb!

Can you give us an equipment run down from past to present? Inc any house backline and mics used.

Yes, I have a list actually! You can find it at www.milesashton.com/ronniestechstuff

The post Ronnie Scott’s Miles Ashton details the new refurb as the venue hits 65 appeared first on Audio Media International.

At this year’s Download Festival, three facts became as unavoidable as the unending trenches of mud on which it rocked, writes Bex May.

1. Millennial-favourite pop punk and emo bands have never been so popular.

2. Download is proving fertile ground for some of the most exciting up and coming bands in rock and metal.

3. It continues to produce some of the best vibes of any festival – in the UK or otherwise.

That’s not least because at this year’s edition of the UK’s premier rock festival, at its regular Donington Park haunt from 14th to 16th June, the mainstage headliners weren’t the metal legends you might expect from previous years (such as 2023s Metallica two-day extravaganza, or the year before that’s Kiss and Iron Maiden), but instead gave way to some of the biggest rock and pop punk bands of the past two decades: Avenged Sevenfold, Queens of the Stone Age and Fall Out Boy.

The latter especially, with anthemic pop hits and a stunning fire-led spectacle of a headliner show, made it clear that these leaders of the recent rock charts can take charge of a Download main stage with as much skill as the big boys of classic rock – and certainly as many pyrotechnics.

Both are absolutely true for Welsh 00s post-hardcore scene kings Funeral For A Friend, who headlined the show’s Opus stage on Friday. “It was great. We brought the fire, both literally and figuratively,” drummer and scream vocalist Ryan Richards tells Audio Media International, “It was a reunion of sorts for us, and it was quite special since we’ve played Download many times – including the first one in 2003.”

“Having our mate Lucas Woodland of Holding Absence with us was a real treat too. For us, and hopefully the fans too,” says Richards. The lead vocalist of Welsh alternative rockers Holding Absence joined for a storming performance of FFAF’s iconic 2005 hit “Streetcar” that was enough to get the black little heart of any inner emo kid palpitating.

The nostalgic collabs kept coming during the set, with Charlie Simpson (who was also playing the festival with Busted, for even heavier dose of millennial pop on the bill) even joining the band for “All The Rage”. “It was nice to bump into Charlie Simpson, and have him join us onstage,” Richards tells us, “Although he was there with Busted at Download, we’ve toured the World with Fightstar many times, and always love bumping into Big Chaz!”

For Richards, it’s these other bands who are the highlight of festival season – on the stage, and behind it. “The best thing about festival season is getting to see so many other bands and friends that you don’t get a chance to see at any other time in the year. It’s great to catch up, but also great to be able to check out bands you might not have been able to see for a while, or at all – whether old or new.”

Pyrotechnics aside, the band’s tour setup is simple enough, Richards explains, “We have four mics, and a lot of speakers. All of our guitarists now play through Quad Cortex profilers, which both sound great, and are very convenient to tour with,” though for drummer Richards, his number one piece of touring gear is rather understandable: “Drum sticks”.

Elsewhere, the noughties pop punk nostalgia continued to provide highlights – with Sum 41’s last ever UK festival performance proving an unforgettable greatest hits set, while the endlessly entertaining Bowling for Soup brought their most infectious anthems and good vibes to the Donington Crowd. US punk rockers The Offspring’s electrifying Saturday evening slot was arguably the most fun of the entire weekend, bringing hits from beginning to end and commanding the crowd effortlessly, mixing their shout-every-word classics such as “Pretty Fly (for a White Guy)” and “The Kids Aren’t Alright” with an awesome cover of The Ramones’ “Blitzkrieg Bop”.

Perhaps it was noughties new metallers Limp Bizkit though who gave the most talked-about show of the weekend, electrifying the crowd with hits with banger after banger in what seemed like a spiritual headline slot – and both opening and closing with “Break Stuff” making for a genius move.

Metal legends were still to be found of course, with the festival’s second Opus stage playing home to Pantera, who had the near-entire crowd of Download shouting “Respect, walk!” for their first UK show in 20 years, and Tom Morello delivering fist-pumping performances of, naturally, Rage Against The Machine’s ‘Killing in the Name,” and John Lennon’s “Power to the People,” whereby he also paved the way for the next generation of rock superstars, with teenage drumming sensation Nandi Bushell joining him for a can’t-look-away solo on the latter.

There was space for more of rock’s most exciting new rising stars on the main stage this year, too. “I was blown away by Bambie Thug in particular,” says Richards, giving his seal of approval to the alternative Irish artist, hot from representing both rock and Ireland at Eurovision 2024.

“There are definitely a lot more bands coming through now, which is cool to see,” adds Richards, “There used to be a slow cycle of new bands hitting the scene, but now it’s a non-stop stream of cool new music, which is very nice.”

“There was a very cool new band called Split Chain that played the festival this weekend, too, and you should keep your eyes on them for sure.”

While the landscape for new bands may be changing, the dedication to classic, more 00s recording remains for Richards – with him yet to be swayed by the likes of Dolby Atmos, he reveals. “For movies I’m definitely all for Dolby Atmos. But for music, I’m not sure yet. I’m yet to be convinced, but maybe if we make new music we’ll get an Atmos mix – so then we can really give an educated answer.”

Atmos aside, based on the appetite for the band this weekend – that new music might just be coming soon, and maybe even with some appearances from the festival’s up and comers too. Our inner emo kids can hope.

Interview: Bernard Butler on Recording at Abbey Road in the new look Studio 3

Exclusive: In the Nashville studio with Larkin Poe

The post Exclusive Interview: Funeral For A Friend’s Ryan Richards, as noughties nostalgia and new blood dominate Download 2024 appeared first on Audio Media International.

Following the highly successful session at the prestigious Liverpool Institute of Performing Arts (LIPA) earlier in June, Neumann is partnering with Dolby and Neve to bring their spatial audio expertise to the TYX Studios in Tileyard London. Home to artists such as Noel Gallagher, Sigala and The Prodigy, the studios, located in the bustling heart of the capital, is the perfect platform for the industry’s top music producers and mixing minds to deliver the Immerse Yourself in Spatial Audio Innovation event.

Visitors will have the opportunity to gain insights from industry experts Gareth Johnson (The Who, Noel Gallagher, Them Crooked Vultures), Kurt Martinez (Kylie, Duran Duran, Rita Ora) and Pierpaolo Demarchi (David Guetta, Stormzy, Armin Van Buuren) as they share their expertise on mixing tracks in stereo and Dolby Atmos.

Additionally, attendees will be able to connect with fellow audio engineers, producers, and music creators, as well as participate in Q&A sessions and engage with product specialists from Neumann, Neve and Dolby to learn how the cutting-edge spatial audio technologies are shaping the future of sound.

Speaking about the chosen location for the event, Stephen Button, Trade Marketing Manager UK & Nordic for Sennheiser Pro Audio and Neumann says:

“Tileyard is such an important and well-connected hub for UK music, and as well as all the resident companies on site it’s a regular destination for many in the industry. TYX (and TY North) is a long-standing customer of ours, most notably with Neumann KH monitor stereo and Dolby Atmos setups, making it a natural choice to host these types of events,” explains Button.

With event partners sharing a passion for delivering the best possible audio to their clients, Matthew Turner, Neve’s Commercial Manager, notes, “Neve and Neumann share similar goals, serving clients who demand the very best. Combining this with the experts at Dolby, the event is a fantastic opportunity to merge three iconic brands at the pinnacle of the industry and to share our experiences and insights. We’ve successfully collaborated on projects with Neumann in the USA, including at this year’s NAMM show which was a huge success for both brands, and Neve have a great longstanding relationship with Dolby that spans decades. This event will further strengthen our relationship with both brands.”

Turner further notes that their groundbreaking G3D Genesys console, the world’s first object-based hardware and software platform allowing for Dolby Atmos mixing, required top-end monitors to showcase its capabilities. “Partnering with Neumann and Dolby allows us to truly highlight the full potential of the G3D,” he adds.

“After receiving such positive feedback from the attendees at the previous event at LIPA, we can’t wait for the up-coming session at TYX Studios in London,” says Stephen Button.

“Our goal is to show the latest advancements in audio technology and share valuable insights from the industry professionals like Gareth [Johnson], Kurt [Martinez] and Pierpaolo [Demarchi]. This is your chance to forge new connections and spark exciting collaborations!”

Spaces are limited, so RSVP now.

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