Exploring Studio A at Sweetwater Studios: EPIC Studio Tour

so we're here at Sweetwater and we are going to meet with Sean dealy and do a studio tour they have three incredibly well equipped Studios but first Eric wants to play that apparently it's free for employees uh you want you want to race me let's do it we'll do one race all right yeah you're going down I'm going apparently I'm going down [Music] winner winner one second behind you hold three seconds okay okay three seconds in a relief one by three seconds yes thank you Sean how are you good yourself good good good we thought we would make use of it yeah do you actually have you I suppose you've played it enough to spend a lot of time out here but definitely it keeps people entertained while they're hanging out in the studio so amazing and you have a pool table too yeah ping pong all the fun stuff so excellent excellent so this is Sean Daley we're going to check out the studios let's go to Studio way yeah let's check it out oh fun I don't know I'm all like pumped up yeah who want to pump you up who won who won um hmm who won Eric see the trick is always gotta let the boss win right yeah yeah yeah yeah yeah sure so yeah we're heading in I like that I like the way he uh it crashed into me like 20 times but apparently you know he let me win yeah awesome so we're walking to Studio A here at Sweetwater uh and yeah I'd love to give you guys a like walk through and show you what's going on excellent yeah excellent well so what's the console uh it's the Rupert Neve yeah Ruben 5088 so we put this in last year uh we've been really familiar with the preamps we'd owned 29 of them for the past eight years so we finally kind of got the second half of the console so we've been using for a long time and then we put the frame in and then kind of so you have the you had the channels just sitting in like racks and yeah we had like nine space racks so we had a bunch of those in here so we've been tracking through these preamps on all our projects for years right now we have the console and great I gotta say that uh it makes a big difference so absolutely yeah beautiful looking console um so that's like kind of the centerpiece um selection speaker wise we get to that in a second pretty nuts yeah got some cool stuff to listen to I mean lots of outboard gear um we pretty much have everything that we needed to do what we like to do in here uh us being at Sweetwater there's always a rotating cast of gear that shows up so that's kind of fun but like a lot of the sort of standard things 1176 is la2a we got a bunch of you know got some distressors some SSL Dynamics stuff so so I see you've got the mug at the top here yeah uh that is one of my favorite preamps um it's quite an amazing piece their gear is amazing um good friends of ours do you have a preference on what you like it on uh that's living on overheads right now but we also track vocals through it recently um some really heavy vocals we did with this project called the big six and that was sort of like a super clean preamp that worked on like extreme vocals and so that's sort of a thing that you know if we need something that's super clean that air band is like magic on stuff so fantastic I've seen you've got a pair of distresses set to crash so you've got it's on the nuke setting presumably if you're crushing yeah uh six to one but yeah that's something we usually uh those kind of you know I feel like it's probably the most useful compressor that's made like I can put it on anything definitely a Swiss army knife yeah I owned a bunch when I had a studio so I think I might have had five at one point so I used them all over the place they uh they kind of live on different things base or there's a specific thing we're doing on the drum kit uh where it's a dynamic omnidirectional mic and we're sort of distorting and compressing this as much as we can so it gets some some cool stuff going on so yeah I feel I feel like it's the modern Swiss army knife obviously originally it was always the 1176 because it was you know for the longest time the fastest attack and release compressor but now the stresses you're right you can make it be whatever you want yeah and it's super awesome for that that sort of thing especially when we're talking to people that are you know asking us what you know what compressor should I buy I'm always you know do you have any distressors yet because that's sort of that's my move so so you've got the UA 1176s and of course the purples do you what what do you have a preference between them and no I think I feel like there's a little bit more grit on the the UA ones the purple ones seem a little bit more Hi-Fi that can maybe just be the way that I've been using them but uh you know I like 1176 into an LA 2A on vocals a lot of the times too so that'll do that the purples I really like on bass are kick and snares so they kind of vary depending on the project that we're doing and the style of music so some amps sitting back here GSM 800 SBT yeah that's sort of our uh de facto bass rig we have 800 as a dirty thing into a Friedman 215 212 cabinet and then I have the Ampeg into an 810 ah nice and so that's sort of where we start for most rock bass sounds so those kind of live down there we got patch panels going to the iso booth and stuff like that so uh kind of gives us a bunch of different options um not always the most Hi-Fi sound but uh that's kind of when we want to go dirty that's that's our move there's so many things here we could talk about we've got pedals up there we'll get you in a second we'll stay with the rat gear uh so at la2a lha we just there's a hole there we had an even tied h9000 in there right in a burkasti and we just took them out to do some mixing in another room so right uh we normally have some effects patched normal to the console so if we're doing a mix on the console we got some Reverb we got some pit shift and some I mean the h9000 can do anything yeah it's almost too much sometimes but very cool disgrace preamp uh we do a lot of marketing content here where we do like shootouts of things and so when we want a super transparent mic preamp that it has no coloration and we're trying to get um a comparison on things that's usually our go-to uh works really well we've been doing a lot of recording for Atmos and so we've been recording like a six mic array that's been the preamps for those so that's sort of a thing that we've been doing and yeah big fans of the gray stuff when it comes to sort of the other end of the spectrum from how do you feel about the grass do you think they're pretty transparent they don't impart much flavor or do yeah do they have a flavor no it is uh it's as clean as it can get things you can get yeah so great so nice ambrac here and I presume you know being Sweet Water these kinds of things are revolving yeah this is today's selection uh uh Jason Pizza other Engineers working on our project yesterday and so I think these are all variations of some sort of clean sound that he was blending together but as you can see we have a dozen or so more amps behind here yep um some of the stuff we we like to use a lot this Soldano sl100 is obviously a legendary amp and so that's a really great clean amp but one of the best heavy amps yeah and so you'd be surprised how you know we use a lot of the chimier stuff that we can get out of that uh Dr Z Z rack is a new thing for us uh Dr Z makes great stuff and so he's still just that one to uh to kind of run it through its paces spectaculars chimey bitey sort of this great huge guitar sound so that's sort of new showed up last week so lovely digging that um Smith the hx100 the Jimi Hendrix amp that he's doing so I haven't heard that yet yeah also pretty high Headroom loud sort of you know I'm gonna want to fire up maybe this afternoon we can put some mics on some cabs there's already some mics on some cabs so we're we're we're we're halfway there we were thinking what are we going to film this afternoon what are we going to do well we could do some guitars yeah we could make some noise I think it would be ah yes baby yeah and then obviously Deluxe Reverb everyone knows what that does that's sort of fun we put that in a head so we can move it around and have a speaker cabinet that matches I've heard it argued that the 65 couple times we mentioned it the deluxe 65 is the most recorded session guitar amp of all time I've heard a lot of people tell me that yeah it uh it you'd be surprised when you try all this other stuff and you go back to that and you're like oh there it is yeah so it works we got a couple of them actually every time in LA I would hire a session guitar player to come in they'd bring in an arsenal of gear but it was always there was always a luck 65 in there yeah no so it's great um yeah patchways uh patched in right now but I can lift up this stuff here yeah do you want to guys want to come around okay so yeah we got 500 stuff for days here see the Chandler stuff lovely yeah big fans of uh the stuff that Wade makes the tg2s uh are some of the I would say best sounding my preamps as a standalone format so it's nice to have a pair of those beautiful do you have a preference use them on everything and anything or do you have something I used to own four stereo pairs of those yes they used to live on guitars for me and even when I toured mixing from a house with Counting Crows I had them in my library because the front end for guitar mics so nice big fan of those on guitar I know people love them on vocals and stuff too but that's usually on a pair like a 57 121 usually lands in there if we run out of channels on the console so fantastic see a couple of the ssle cues yeah um they're pretty much the thing I like to sculpt drums with so we have some those are patched in on the kick drum I think and so either kick or Toms or the snare drum depending on what kind of surgery it may need while we're tracking so try and get most of those things done going in the Box um those kind of work quite well for that I'm going to skip down just to the bottom 2500s so rooms using this on room mics yeah and that that's a new thing for us we we're kind of experimenting with some stuff on our far rooms we've been doing a lot of stuff where we weren't really processing them as much and so we were just sort of going through all of our compressors and ended up on this thing and I was doing some really cool stuff I love what it does on guitar personally like it kind of really compacts like a guitar mix or like a guitar bus so that's kind of where it usually lives in my world but this is a new thing we've been doing with it and it's pretty awesome so the the few times I've used them I I actually got loaned one I don't know 10 15 15 years ago something like that and I didn't like it as much on the bus the overall business I felt like it was really affecting things too dramatically I could never get it to do what I thought I was gonna do and so I've moved it I've used it on like a drum bus I used on the parallel drum bus for smashing yeah try and get it to react a little bit the thrust thing kind of does some cool different features on the pet kind of choose the different ones but yeah it's been I don't know we kind of a rule me and Jason when we're working together it's like we have to do something new every time we track so we're trying to switch out things and kind of come up with some stuff and so on the far rooms it started doing something that was like really exciting so that's kind of where it landed this week so so of course next up is you know nssl bus compressor yep uh that's one of the older versions of the uh the G G Series compressor and rack format um does that thing it's awesome uh don't ever press the auto fade button when you're tracking learn that the first time I used it so um but yeah I know it's great you know that'll be when we're mixing on the console I like to hit that and then go into our rupertive Master bus processor so like a double whammy of that being a little bit of tickle and then sort of you know hitting a little bit more with the master bus processor but sometimes track overheads through it lightly but for the most part uh if we're mixing in the analog realm that's where we see stats see some action so nice so let's go back to the 500 Series so the 512s yeah I mean API flavor uh definitely different than a lot of the heavy-handed Neve stuff we have around here a little bit more upper mid forward and yeah I've owned a pair for years and these have been here for a long time and it's definitely uh just a different flavor the API sound I mean we don't have a ton of API stuff but we sort of have a channel strips worth of API gear in the 500 rack so if I want to get into you know using it as like a vocal chain and things like that for that sort of tone I have a 550a and a 525 that I can kind of get get that Vibe going on right oh so you've got G10 here which is the Bae one yeah I just got that recently so messing around with that is sort of um I think that is on a guitar mic doing some weird stuff to kind of make it pop right now but uh these are wonderful yeah kick drums and snare drums and stuff that sort of yeah so very cool piece yep um I mean we skipped past this quickly but the E Series EQ that's the new version these are older ones and so this is the new production model of the EQ very similar to that I couldn't tell you if they're sonically the same or not they seem to function the same way so um they're just that's the one that we're currently offering in our retail side of things so um you cut you're cutting some 350 out so I presume that was on drum yeah that was I think those are one two three Kick Drum yeah you're boosting so yeah comes from 350 and you're boosting some 60 yeah so kicks on them yeah getting some uh snare top snare bottom bit of bite at 10K bit of cuts 600 probably getting some rid of some ring I presume on the snare types great yeah and those are great I mean you can push those pretty hard to get them to sound pretty nice yeah I love those on guitar too that's sort of my go-to I really like the combo of like a tg2 into a 550 is sort of like Ken Calais we were working with him recently okay you know rumors and well you know Tusk and a bunch of huge uh Fleetwood Mac records they they tracked predominantly on apis and he said he just pin eqs he's like API cues he's like all the way up just crack them up yeah yeah no I mean they've never heard them sound bad so no it's a it's a good thing to know and then um oh so these the aeas yeah so we got both versions of the 500 series aea uh ribbon preamp the rpq 500 and then the trp 500 and so the rpq has the EQ and then the preamp which is just a trp um we have a bunch of AAA microphones here so we actually have a stereo version of the rpq for the aea r88 that we use and so that's a really nice kind of companion but then we also have a bunch of like the K4 K5 and then the the 44s that they have so those work really well with the ribbons being able to change the impedance and some sort of have some lift on on the EQ version of that so those kind of get a little action when we got some ribbon stuff going on in the studio then we've got Shadow Hills the Mike praise yeah I mean those are cool with uh the uh ability to change the Transformer sound how much of a difference do you feel I've actually never used them it's subtle to me I I feel like the low end sort of fluctuates a bit different kind of hardness in the bottom end um but yeah those kind of get like API to knee differently yeah like sort of but like I feel like it just kind of like almost like the tape bump kind of moving on a on a different kind of formula or head configuration we're getting like different reaction to the bottom end some of it sounds a little harder some of it's like a little bit like bigger sounding so they get I suppose the direct question is enough for you to go oh wow I love these uh not they don't get used very often okay so they just they're something that those selections if I'm going to make a selection I'll choose something that sounds a certain way those selections to me don't yield the results I'm always looking for so right but they end up being like a cool flavor on guitar sometimes on room mics we'll get into them and try and push them a little bit to get some some of the tonality out of them into the recordings great so um before I move on let's do the 525s I any thing in particular you like them on uh snare drum sometimes room mics sometimes they're a little finicky to dial in I've had a pair for many years even you know I think I bought my first sort of 512 550 525 setup like 2005 so I've been fairly used to using them so knowing a couple of things the limit setting on them and then sort of the milder stuff is is cool but if you dig into them they got a cool thing that happens so great absolutely fantastic uh 535s yeah we love those around here the dial Bridge that's uh sort of doing the old style knee compression uh grabby and goopy sort of thing so yeah that sort of lives uh on room mics kick and snare like kick in and one top uh we have another rack mount version over there and so we got four channels of that in here right now and that's sort of uh we quite like that great great um so back to Shadow Hills what is this the door Van de Graaff yeah oh I don't know too much about it because I don't use it so I've been here for a while I've tried it on a few things and it does it sure looks cool but I don't actually have a lot of experience compressing anything with it so right right yeah it looks fantastic it definitely uh all the shadow here stuff and and I know Joe uh Joe ciccarelli uses the um the big uh the master compressor yeah the most compressor I know he loves that um and and uses it a lot I mean it's I always think of Shadow Hills as being kind of like the David Lynch of of compressors right yeah totally it's really super super cool and the people that love them love them and I think part of what I love about our business is that there's so much individuality and passion behind gear I mean I when I see this I know I know most of this equipment here I think of the personalities behind them like Wade or you know where's at aea yeah and they're all these are very strong personalities they're very passionate about what they make and they want things and to have a sound and be something and that's what I love about what we do you know no I mean the audio opinion of people is pretty interesting when you put it into a piece of gear even the way you choose stuff it's like how is this going to affect my end result you know and that's something like when you have gear that you don't really use that often and I look at it sometimes like how can I work that into my workflow is that something that could help me get to where I want to go and so it's cool when you know people too I mean I've known Wade for many years with Chandler and Men he does some cool stuff and just like the people West has been here a bunch and um you know obviously knowing the lineage with Rupert Neve and stuff like that that we can really see where these people are going what their directions are as far as what they like and you know hopefully using that to get the best results and recordings you know absolutely and I cannot exaggerate how wonderful 500 series equipment is is that you know for a fraction of the cost of what it takes to buy a rack unit yeah you can flip things out you can buy and sell stuff and you can experiment and grow your collection um yeah it's a nice way and you know if you are interested in like you know multi-channel preamps and stuff you get one channel in here and see if you like it and like that's something that you know for you as I was doing was like well what style of pre and I would get like a different 500 series thing that did a different thing you kind of get you know an idea on that but like this is probably the most fluid section of our control room where it's like okay cool those didn't get used for six months let's get rid of them and try something new and you know so we kind of flip stuff out of here A bunch and great I think it's a really cool thing to be able to do that you know without having to like buy a three or four thousand dollar piece of gear buy it sell it and you know we're looking at 500 to 1200 bucks on a unit right so fantastic so yes we got some speaker options in a uh the ATC uh 150s have been in here for many years we've recently added a couple other options so uh main mix monitors are the atcs they translate great out of here so that's sort of the first go-to the ocean way through H.R 3.5 fl's are new and those are fun uh they go loud they go low they possibly rattle the lights out of the ceiling when we turn them up so uh those are fun uh to sort of turn things up and and when we're tracking they're great for that um and then these smaller amphions the 218s are also new uh really great low level monitoring uh mixing checking mixes um those are amazing so three very different sounding speakers but uh we have lots of options here and so we've been super happy with the results we've been getting out of this room I do a lot of my mixing in here uh and the the translation is awesome so uh with the 150s we do have a sub down here so we're adding some low frequency extension the other speakers uh don't have Subs but those ocean waves go super low so they're pretty awesome Trio 11 that sometimes make their way in here they're in the live room right now so we listen to music on those a lot they're super enjoyable to listen to music on um the atcs are a little more critical than the focals but you know we have some options in these rooms and so between these and then uh Studio B which is Atmos we have PMC in there so we have pretty much all the different high-end Brands uh that we can kind of Bounce stuff between but uh definitely uh some great options so so uh the machine room for Studio A consists of a new Mac Studio so we just installed uh new computers in all three rooms here so we are on the M1 chipset so that's new to us just last week we put those in so uh two HDX cards connected to our matrixes so we have 64 analog inputs 64 analog outputs we also have Dante enabled on the first one so all of our headphone systems are Dante via the d800s so 16 channels out of Pro Tools direct digital to the headphone system and then we have tie points all over the studio so we can listen on the headphones in the control room live room isos all that stuff this is wired around the studio so through this network patch panel we can access Studio B and C's Dante Network so if we do want to work between the rigs we can actually connect the computers we've done some stuff where we've tracked for Atmos in studio a while monitoring in Studio B so that's a super cool thing that we've been doing a couple other things in here we have uad satellites so two octos for the studio I'll use a lot of their plugins and uh mini connectivity with the Motu unit and um yeah that's about it for uh the machine room and Studio A do you guys bounce the table no that's that tape machine's never been used so I got purchased for a project that never happened so one inch eight track that's kind of uh a little bit obscure size so uh it hasn't seen any action and we do have a two inch machine behind you use it to transfer some tapes but not really get uh any tracking action on that so so let's talk a little bit about the 5088 yeah um I would describe this as the muscle car of consoles uh goes real fast I'm not sure if it has brakes but simple in its feature set but I mean it goes really fast in a straight line yeah we don't do Corners we just go fast pedal the metal uh no it's super super amazing sounding very simple uh routing uh there's eight mono groups stereo fader uh there's four stereo sends they can be broken up into mono sends um I noticed the texture is on Max on every single Channel I feel and Jason who is just doing a session on this console feels that uh if we would like the texture to be there we would like all of the texture so okay to me I normally all the way up blue or red or none and those are the kind of three flavors we can get out of this which is super cool that it gives us the option the red being more aggressive in the upper mid-range blue being kind of bigger and turning it off just kind of doesn't really accentuate anything but sounds really good so and the subtlety of a little bit of that I feel like just going for it is a little bit more gets me where I'm excited about it so fantastic um we did I can't remember which piece we tried out but we did use a Rupert Neve piece that had um the silk on it and it was pretty dramatic it's not one of those we were talking earlier about you know the Shadow Hills where you're like yeah it's a little different no it's it gets bigger it gets more aggressive um and it's one of those things that if it's not the right fit it's not the right fit but like if it really is The Right Use of it it makes stuff better and so we have that feature I mean obviously there's no silk on the center section of the console but our Master bus processor and then we also have a summing mixer these um satellite the 5057 summing mixer has it on there so if we're tracking and or mixing with some analog stuff we have a few different spots where we can add that in and the way that the Transformers are saturated are different on different pieces I know the master bus converter has a different style of silk so even combining some of those is a cool thing to do when you're getting into the mix side of it that's really really fantastic um so anything about this console that really jumps out for you obviously you already knew the mic pres you've been using them before once you're stuck it into this configuration did it take a step up I mean I feel like we kind of took what we had we had 29 of these mic preamps for many years before we had the whole frame of the 5088 and I think that we really kind of completed the package it is so much more of a system and it works so well together now I feel like we kind of finished off the sound of the preamps by putting it uh through the console so there's another input Transformer output Transformer on the direct out so we're getting some more ability to hit some iron we can drive stuff with different gain stages so there's an input trim yeah on the bottom section here so we can push the preamp harder than we could before and trim it back coming into the line input of the console so sonically we have a lot more flexibility with what we can do with the preamps as far as you know if you want to push stuff into some you know overdriven stuff we can do that or even just keeping it clean there we can sort of maximize the Headroom through the sections of the console so so I see this is interesting so you've got quite a lot of yeah there's a there's a variation there's a secondary input into the bottom section of the console so depending if you're tracking or if you're using a tape machine you can switch back and forth between so you can come direct out of the mic pre above here yeah and then have this as your tape return Yes and so you go direct from the from the mic gain here and trim to tape to Pro Tools to Daw whatever whatever DW you're using and then you return here and have this as kind of your rough mix yeah we can do that tracking and when we track we end up not doing that and having the direct air go straight to Pro Tools and then we monitor out of a stereo but for Pro Tools okay and kind of use the analog features that are like the analog sound of the bottom part of the console as part of the recording chain so do you feel like this adds weight to it like extra Transformers I think it makes it sound quite a bit improved on on adding that it gives us an insert point post EQ on the preamp too so any of our compression or other effects that we're putting in on on channels hits there and then comes back fader level the Pro Tools is really handy to have so for tracking things you need to make adjustments and stuff okay so that's kind of how we function here and then we also we looked at some guitar stuff but the way that we've been tracking is we usually have a selection of amps and mics that usually hit the second half of the console over here yeah and we bust them to the groups so we have uh right now eight guitar mics up here so uh this will do I know the doctors either Deluxe and we had a twin miked up so all of those can be routed to different buses on the console so when we're actually tracking in Pro Tools we're not tracking eight microphones or tracking guitar so we have like a single channel that goes into Pro Tools using the summing of this console it sounds really good I usually hit you know we have a retropol tech here that'll usually kind of sweeten up the guitar with and so that's sort of like a really cool feature that we have to you know eliminate a bunch of guitar mics and Pro Tools and also get a really great sound using the summing through the console fantastic um well while we're over here so you have the Retro uh it's it's a pretty extreme piece of equipment it is a little tricky to use there's a lot of settings uh it's effectively a limiter uh there's two styles of limiting that can be done with it it can be a mic preamp uh it does like clipping distortions so I've used it on mixes on like the tail end of trying to get like a really loud analog Master we use it on room mics to kind of get some energy out of them uh other than that those are the kind of the two spots that it lives uh it's fairly new to us here we found it in our Gear Exchange in the store and kind of moved it over here to uh get it on some stuff but it has so many different configurations and settings between what it can do that I don't think we've really explored all of its options just yet interesting the the Great Rivers yeah Great River I mean I'm super familiar with that company for years I had uh a pair of their mic preamps for a very long time this is actually a piece of equipment that belongs to our friend Lynn fuston who's uh director of written content here but a long time engineer in Nashville and so he uh has hooked me up with his mastering EQ that I've been using on guitar lately uh through our guitar bus and sweetening the mid-range it's kind of a I don't want to speak out of line but I feel like it's a Neve style EQ um but it's got a really nice thing it does to the mids and it's very subtle but it's a nice thing to sculpt with when it looks like it's got that kind of PQ 1061 I don't remember the model of knee but it was the BBC EQ points that they they asked for yeah it's got a lot of those very musical ones that are familiar from like 1073s and 1084s and stuff like that and the cow wrecks yeah the piggy 1061 it has those EQ points really I would if I was looking at this and remembering my personal experience with PQ 1061s really good on guitars because you can get there and find that that low mid that you want to bump in to glue it together with the bass and drums you've got so much High mid selection here I remember PQ 1061 just being the ultimate guitar micro yeah and that's I was messing with it and that's kind of where I landed and so far it's been pretty subtle just a little bit of like sweetening but that's kind of a cool piece um uh we kind of have been on a hunt for a new like stereo mastering style EQ and that's sort of kind of what we're trying out with that one so earlier when I was talking about the over here going talk about the silk and the particular piece of Rupert Neve equipment that we tried it on it was dramatic it's this it was the orbit yeah yeah which I I was uh bluntly I was I was a little skeptical when they first sent it to me to try I was thinking 16 channels running through a single you know one new rack mount we had a blast with it and it really did dramatically improve and the word has improved mixes so if you were mixing in the box and you actually just wanted to get one piece of equipment and just elevate it and actually make it feel I hate this word a little bit more analog or the worst word in the world I'm going to use it warm I know I said it it it it's I mean I don't know the summing mixer situation I've tried I've always been very negative about it I'm not a huge fan of that because I've tried a lot of times and not gotten better results than being in the Box yeah I get a better result going through this and being in the box and that's something like you can drive it really hard the silk thing really does something to a mix like it it'll make something Hefty or if you need that aggression from the red it pushes it forward and it like it's it's a it's an improvement and that's my exact reaction I think it's the only time I've ever thought that it made sense it really is something that uh also with the minimal amount of controls for recallability which is a huge deal when you're bounced between rooms we have one in Studio C as well so we can take mixes between two rooms and still use it and I think that that's really you know when you have a lot of options or recallability or a lot of you know things you got to calibrate it's a problem this thing is like it just sounds amazing and you don't have anything to worry like it's just like oh I didn't touch the knobs it's not a big deal this is stepped you know it's nice to kind of just you know leave it where it is and it's a better box you know anything that goes through it is better so I I had a I had a history of once every few months somebody bringing up something of being the guy like that's a waste of money it's not worth it blah blah for probably like five or six years of doing this and a couple of years ago three years ago they sent me this and I was super skeptical and I was like if I if I review it and don't like it I'm not going to even talk about it but we put the review out because we loved it yeah um it's uh I mean the workflow thing uh you probably know we probably work on a lot of projects all the time it's like if you can't make it the same yeah you can't use it so it's one of those things that we can easily recall and it does make things better so that in conjunction with the Portico 2 Master bus processor is I think another piece of the puzzle that I think is you know understanding what it does because it's a super powerful box that does a lot you know there's a compressor limiter silk and then the stereo Field Effect stuff where you have depth and width which is a pretty cool thing it's a mid-side processing there's not really a box you know in the analog realm that does all that there's not really Pete Lyman is a fan of this yes he is yeah Pete Lyman who's one of the best mastering engineers in the world yeah and so there's not really a component Inside the Box either there's no plug-in version of this so you know and having detented controls on everything so I can recall it easily that's a huge component especially if we're gonna go out of the box it's going to hit the 5057 or if we uh get muster up the nerve to mix analog that's going to live on our on our stereo inserts so a super cool piece uh can't say enough good things about it talking of me but the original yeah 33609 yeah that is to me uh I'm a big fan of like 2264s and things like that so that compressor usually lives on Kick and snare so when I'm tracking that's kind of my go-to for a little control on the kick drum and a little control on the snare drum so also I mean it's a bus compressor it does a thing it's kind of goopy it's like very it's heavy-handed so it doesn't always work it's not the transient can disappear through that thing but it does the thing uh I like it it's you know I know that when I put something through it it's going to get a sound and uh yeah I mean it's a pretty um pretty great piece I uh next stop is uh back to White Chandler yeah the tg1 obviously we all are familiar with the Abbey Road tg1 yeah yeah I love it I've owned one since I think 2005 I bought my personal one I rarely do I record drums without it on something uh that aea r88 microphone usually gets some love from this thing parallel is cool I've tried to track vocals through it before with like a compression and a limiting setting with some mixed results but uh as far as just like an aggressive you know that compressed sound that you can you know audibly hear and feel it's one of those things that are just like you pin it it sounds great it does that thing and there's nothing else that does what that does so wonderful then last but not least in this rack is the x-log X logic X rack super analog so I think they've discontinued this style of gear it's not 500 series it's a bit bigger kind of when in conjunction with the AWS 948 so these are stereo modules so we have uh Dynamics and gate expansion on each channel here so there's actually 16 channels in this rack so effectively we have it here so when we're mixing analog we can use Gates and compressors so each of these is a stereo Channel yep so there's two inputs on those so they act as stereo so also the compressor on these is super grabby and really exciting so uh we'll sometimes hit room mics and stuff with that to you know go up on a high ratio and kind of get them to go and get into that sort of crunchy SSL style thing so super like you know this is a very utilitarian sort of like if we need a gate or a compressor on a channel when we're mixing but then also tracking I just like these compressors because it kind of brings some stuff out of whatever you run through them and I love the auto gain makeup I think that's more yeah should have that feature that's always been the thing with the SSL wasn't it um I'm looking for a guitar pedal if anyone's listening a guitar pedal that has an SSL style compression with a single knob more compression Auto gain makeup is sort of like okay I'm on a hunt so all right consider it done the man that knows how to make that is arriving this afternoon oh cool yeah then let's talk to him yeah for real okay while we're here what's the Hazel rig Industries yeah yeah so uh this is a mic preamp and EQ oh it is and then this is a compressor and so his Oregon Industries are friends George and Joff hazelrig uh run DW Fern so the red oh I know these guys yeah uh they have these recently released the VLC vne and vdi which is a tube Di uh very amazing pieces of gear super powerful there's no actual markings of frequency it's like high low and there's no you know you're not actually looking at numbers and things so very musical decisions amazing mic preamp amazing EQ this compressor is it's like a like a better box anything that goes through it sounds better on the other side um it's super fast or can be super slow it can have a lot of compression and you can still not hear it like it's just one of those things that has amazing control vocals of sort of like migrated into going through this compressor pretty much anything we're doing either the 1073 Bae that we have here the VLC which is the EQ and preamp or a 5052 mic preamp so one of those are sort of flavors of preamps for vocals and then pretty much hit the vne for any vocal tracking we've been doing for the past year or so so are you snuck in a bae 1073 in there yeah so I just kind of get that you know classic 1073 thing which so is this about is this a vocal chain for you yeah this will be a vocal chain sometimes this lives in this rack and then sometimes depending on the situation we really like the 5052s on vocal 2 so with the silk feature on different mics it's sort of like understanding what's working and what's not and having a few different options but uh this is sort of vocal land and and sometimes we'll even bring it back to the bottom half of the console so we hit those other Transformers before we hit Pro Tools too so that's nice uh Bae 1073 Hazel rig for compression and then bottom half of that for an extra Transformer yeah that that sounds quite nice indeed it works quite well yeah yeah we've been pretty happy now let's go down last but not means list uh this rig here we've got um the 5500 uh any favorite things for that um I love these eqs on Toms if I'm going to get heavy-handed on something they're super amazing for that uh this has also been something we've been messing around with this is like a stereo sort of bus EQ to see if we can lift its stuff the the feature like splitting how much you're doing so you can do like a half DB increment instead of it being plus two which is kind of a big swing if you're doing a mix EQ so um and then also guitar stuff like we talked about the other API eqs I love them on guitar so they have have the right sort of frequencies that you can get something just lifted out of a recording and I think that this is a super powerful piece I I'd quite uh quite like using it I probably keep trying it on different things so yeah I'm just stoked on that um who doesn't love some apis sounding cues I mean absolutely amazing the so um this I know is pretty amazing Jonathan Pines who's I'm sure you know as well is always pushing me on the 5254 he's just saying you're gonna absolutely love it yeah so very similar to The dowbridge 500 series uh I feel like the circuitry is a little bit different in the rack version but sonically it's amazing it's grabby it's nevy it's sort of like the 33609 if it was like a little bit quicker and a little bit less kind of goopy but in a in an exciting way we've had it for a little while here messing around uh uh yeah it's uh it does some cool stuff it goes nice and fast too so if you're trying to bring some energy out of like a tracking situation if you're hitting room mics or something with it and then also um we kind of mess with it as a parallel compressor and so on a drum group has been pretty cool too so yeah a great piece um yeah I don't know it's just it's it's a win so we we dig it definitely like the high pass filter too which is something I was gonna say I think there's two additions that make that really make these Hardware compressors usable in everyday situation because you've got a high pass so it means like for bass guitars and stuff like that you can let the low end come through yeah it's not the only thing controlling the compression um and then of course the blend knob is just huge because then you can use it to annihilate things yeah just bring it back everything louder than everything else and then just turn it down a bit so yeah um yeah great piece I mean that's what plugins did for us because plugins started doing all of these things and then all the hardware manufacturers are like oh we should put those on our gear the plug-in version of the 33609 is something I go to quite a bit because it has that mix knob right and the high pass side chain so but those are the kind of features that now we expect in Hardware so exactly when a company like this does something like this it means like they're listening to the people that are working with this stuff and delivering a product that works so that's a great piece I I'm an idiot I didn't know Earthworks made my priest so I wasn't totally aware of them either um but they're they make these this one I think is discontinued um extremely uh High Headroom low Distortion so we were doing a bunch of captures for the neural DSP quad cortex and so I had figured out a signal chain that I was using a DPA 4011 into this so like like completely transparent full frequency response and then going through our summing mixer to add a little bit of the silk to the sound and sort of making captions through that but I was finding that this was uh you know what it reminds me of just the look of it and the Simplicity I it reminds me of when Brent when bae were going through and and racquet yeah I had some of those that were yeah with the silver knobs and the blue skies it's got the same amount of gain it's got the or maybe there was 70 DB but it feels very similar like just a if these knobs were silver yeah yeah but yeah I'm actually not sure that the topology or where the cop like if they copied the design from somewhere but it's something that I was using on guitars to get this like like the opposite of a 57 sound where it was like I have a full range signal to deal with it I can sculpt in any way using a microphone that's got like way wider bandwidth and so any particular mic the DPA 4011 is the thing that I would kind of use on this and it was like good for some things not for everything but we were making these amp captures and it was really giving the software so much information to use that it was a really cool sort of basically big and open yeah right it's a big open accurate I suppose would be another yeah word um transient designer I I still want to mixing hybrids through my SSL love the transient design I was talking to somebody about it yesterday um for me I feel like actually it's the last thing I reach for so I'll do all the things I need to do and so I'm I've got the snare maybe sounding absolutely amazing but as the mix gets more and more dense I just want a little bit more attack a little bit more body I can just go attack sustain it's the coolest thing and I got away from it for a while and I just got back to it and it's like the last thing in line it's just like just a little goes a long way but even we were tracking through it recently too and it just like on the mics yeah oh no we did we I did Toms and then snare top and bottom and I kind of controlled I could almost control how loose the snares were the toms really kind of you never used it on tracking name except for room mics because and it didn't go like this is this wouldn't have been I would have been you know like maybe negative three plus three like that little swing does so much so uh I will try it on room mics because I've never done that but I've heard that a bunch of times now so you go you got that drama that's maybe a little too splashy on the symbols and you're trying to exaggerate the kick and snare a bit you can get have some fun with it it's pretty neat how you can sort of shorten stuff which is you know if you got Toms that are ringing and things like that you can just kind of dial them in so yeah super cool piece it gets used more this you know more recently and I'll mix its kick snare rack floor yep yeah so that's kind of the same sort of thing we were messing with um these um the these these Retros here um I fell in love with them when recording and mixing bass yeah this here this side chain high pass on this particular unit is absolutely superbly bass guitar bass vocals attract a bunch of Records uh some of the stuff I did with the Counting Crows we tracked through a retro uh it's just an amazing sort of vibey you know it does the sort of 176 thing that um is sort of unobtainium you know if you know someone that has one that works and it's in good shape that's cool but having all those features in that sort of Sonic signature uh is pretty cool and so we have a pair of them which we've been experimenting on Parallel on drums which has been a new goopy smooshy cool thing those c12s that we have in the live room are running through that right now so wonderful that's sort of a new thing we've been messing with they do live a lot of vocals uh before we got the v e this was sort of uh our go-to vocal comp so um but yeah bass you know they're just another better maker box like anything that gets through it is sounding better on the other side so wonderful well last but that means laced I think we actually talked already about the uas because we because the 1176 over there classic one I I will say on camera I'm I'm a snob about some things but not others and I we we've done records where we've rented revision d e f g j k z do y whatever and the new ones and the differences maybe are there and they vary from unit to unit yeah but I've I've always never had a problem with the new ones no it's great and this is actually patched into this so this is like a vocal chain that we have set up that's just another version I love that sort of combo um you know it as you know it depends on who's singing and what it's going to sound like and that's sort of the huge Market on these things it's crazy I spoke to somebody yesterday said they paid 11 000 for a vintage one of those yeah no it's it's pretty nuts um thankfully UA is still making these two pieces they stop uh la3as are one of my favorites and they stop making them amazing I sold my pair which I'm super bummed about but you know these are great re-issues and like I think a lot of it has to do with components I mean there's a lot of people that know how to calibrate the 1176s to work right and these ones have sounded great you know all of ours um are in a consistent you know you know they're wonderful but eleven thousand dollars that's insane yeah it's insane yeah so maybe I was a one-off maybe I had some history on the on the compressor but I was just my mind was the reissues as far as reissues because the la2as are like man I had a pair of old ones that I didn't own but I had in my possession for many years and these reissue ones do exactly the same thing I wouldn't trade you know I could swap those out and be happy either way so great so uh our drum room here is uh pretty freaking awesome yeah well stocked uh I don't know we've got new sounding stuff from you know DW sonar uh I got some mahogany Ludwig stuff snare drums I mean uh effectively just about any style of snare we have here um yeah um you know some pork pie stuff DW Ludwig we have a whole selection of like different variations of black beauties mapex Black Panther um I don't know it's uh a drum nerd's dream I think you know we got kick drums 20 22 24 26 this is my old radio King so that uh go gets a little love here and there uh yeah I'm like a little kid I'm like touching you yeah yeah and I'm putting together the kit so I'm sick I'm like okay this is a 24 and then there's the rest of it up here yeah and so there's the uh 18 for that creviato kit we got out in the live room nice I got a late 70s Gretch kit that's mine that's 22 13 16. good taste a lot of action yeah uh these tamas are pretty amazing the Tama star Series so that's kind of like old Camco shells so these are kind of beautiful um those are oak ludwigs so that's a different sounding Ludwig kit which is kind of neat a little bit louder and I don't know just a little bit of a different thing so wonderful um I love your uh selection of snares there yeah so we got uh five inch black beauty Pearl Maple Gretch that matches our Gretch kit that we have a 20 22 24 10 12 13 16. um promasters Maple gum this gets a lot of action so we've had people like Matt Halpern from periphery and Ray lazier from corn come in and do some content got the bottom this light kit so 26 14 16 18 and orange so that's kind of cool um you know a bunch of snares we've got some out in the room that we're using but you know some metal ones some wood ones got a titanium trick I've got some vintage round bag round bad scratch some Wheaties some Ludwig so you got some kind of Boutique kind of weird vintagey what's this that that's an old uh light yeah that's mine um is that you collected drums for a while and so kept a few things uh six lug 14x5 Ludwig and Ludwig uh I think from the 40s um so that's kind of got a cool thing uh they all have uh little things in the snare wire except this room doesn't buzz like crazy but super live kind of nice can be really fat and pockety oh yeah I love that little all the snacks yeah everything so we got these little rubber things and all the snare wires so this room uh when you take them out is kind of insane but uh well it's just uh hanging out with that it's it's not super snerry but uh and then that's another weird one I bought for 100 bucks somewhere with this similar shell as the one next to it with non-original hoops so uh kind of fun uh round badge next to it uh one of the first sessions I did here at Sweetwater Studios Vinnie Collier was playing drums and I haven't asked for an autograph since I can I don't know maybe I was 15 or 16. but if any side signed the inside of that for me so this uh yeah it's kind of a cool little thing um oh yeah to Sean thanks Emil with Vinnie's signature yeah so I don't know that was a little bit of a drum nerd day but uh he enjoyed playing it which is always awesome and we had a cool session with him so amazing and then what's this live trick USA here what's this uh that is a titanium drum made by Trick drums which do a lot of weird metal drums um and uh it's kind of a dry sort of it's a different vibe than a steel or a brass snare so a little bit more controlled it's a it's an interesting sort of variation on some stuff sort of similar to a done it um Titanium shell but uh yeah it's kind of a cool one amazing and more yeah more so there's a bunch we have a bunch of 10 lug and eight Lug Ludwig Black Beauty and uh variations on sizes on those wfl did some powder coated aluminum drums a couple years ago which are kind of interesting so uh that's a a little bit of a different flavor deeper Black Beauty there yeah and so there's another one that's out there that has die-cast hoops and stuff that's on the kit that's some sort of quite uh inexpensive drum that's sort of tuned low and gets kind of weird sometimes pawn shop find um with a I think a weird Japanese hat on it that uh is a pump coat yeah it's a weird one um yeah and then a bunch of DW stuff we got uh Cherry gum Purple Heart this is an aluminum mahogany that's a 15 by six so it's like big in the fat and weird so that kind of you know ballety snare um it's kind of cool so you know we have a lot of options if you want to find the right drum for the right part uh we usually can uh get there pretty easily amazing amazing what's this same thing it's a pewter Black Beauty variation I think I know it's not called Black Beauty but it's the same shell style different metal that they use it's gorgeous yeah beautiful drums gorgeous and then for civil selection do you just yeah we have four sets from just about any manufacturer on the kit we got some new uh symbols from dream recently that are kind of uh very nice uh sort of vintage sounding symbols with tons of siljin stuff tons of minor stuff Sabian we have a selection of different things but these are quite nice they just kind of um are tasteful symbols I would say uh nice and light and sort of wash quite nicely so that's kind of been my go-to lately but you know depends on who comes in sometimes we have artists who have endorsements and we try and you know make sure we have the stuff for them great and more snares more snares this one gets a lot of love the uh Gretch Bell brass uh George way uh bronze snare drum also is something that I go to a lot and then some super phonics and super sensitive so comedy bait is super fun at Kenny yeah no and I don't know we have enough of them that they're sort of tuned differently and so it depends on the situation that we can just kind of grab a drum and go so fantastic lots of options so I see you've got the the road sitting up here mic tap yeah I uh was unaware of how cool the amp sounded for many years I would di a roads and try and make it sound cool once I got it inside the computer and stuff and then I finally put some mics on it uh about a year ago and uh changed my life on making this go so this is I don't know there's nothing that really kind of compares to roads and or wallet sir I have a hard time finding electronic piano sounds in the digital realm that are convincing so I know everything for little Mike it's gorgeous just it's really tough obviously with little lapel mics but it's so satisfying to feel it like kind of vibrating in front of you [Music] yes it's amazing that's incredible yeah so who needs guitars exactly wait there I'm a guitar player it pairs well with guitars though but you know like that's the thing that I didn't even realize how grindy this thing got until I let it rip and I was like man that is especially with the the vibrato on it it's like you put that in a mix and it's got some movement and yeah it's hard to beat so it's a it's a cool piece it's it's nice to have this at our disposal I mean same thing with the Wurlitzer that's sort of you know the Distortion that you get from that and those tines it's just like it's not quite the same it's very player scent you know here oh [Music] that's fantastic yes gorgeous yeah there's something that's you you're right though there's something satisfying about using the real deal and not using a a plug-in or B just relying on a DI yeah and that's I mean I had the the the fun experience of retaining uh realtor on the road a few times and like fixing that stuff fun yeah there's components of it that just you know the the actual physics of the piece moving and the magnet and the way that all that stuff interacts and the Distortion you get from the person that plays it and if they know how to really dig into it it's like way different than you get if you have something that is a model of that and so you know these to me are really sort of you know things that are hard to recreate once you get into the digital realm and so it's a cool thing to have here for us shooting them by dropping little bits of solder on them yeah and then filing it off and because you went too much and yeah it sucks so on a hot summer day on the road you know so it's a it's an interesting thing yeah I I did try to do I had I really for years and I do remember trying to tune it and it was a pain in the butt yeah it's all painted butt yeah and so we got some mug stuff kicking around the sub 37 is sort of you know sees some life on some stuff adding some bottom end to some things and so um we're going through the focals trio 11s yeah fun we listen to music on them all the time so they're wonderful wonderful I see so you've got I was looking at how you're miking up the Leslie there so you've got an ss12 so you've got a stereo ribbon picking it up yes um and then you've got the re20 at the bottom I uh I love 121s Yeah on Leslie uh I like well I don't know I love B3 I love Leslie I grew up my dad had one in our house and so I'm very familiar with the sound and so I love recording them uh this is more of an ease of use One mic stereo thing sometimes I like to spread them sometimes on the side it depends on you know my Approach or how it's fitting in a mix there's a you know a lot of different opinions on how to record a Leslie but sure I kind of dig this it's a simple setup it's kind of keeps things we don't have any phase issues yeah and so it kind of keeps it all together and that's a yeah some people do the side here Canada that we have is a 21h that's been modified and so it actually doesn't have two louvers on the side so we don't get a ton of sound that comes out of the sides like you normally would so okay being on the back side of it kind of alleviates that and I've never had it not sound like a B3 so it's you know it's working fantastic uh vocals is this a 67 reissue yeah it's one of the new 67s uh we are digging it it's uh I mean I think they've done an amazing job recreating the Vintage microphones that they're so well known for uh that's been kind of a winner on a couple vocal shootouts lately so great yeah C7 piano um well is that dpas again uh yeah those are 4011as we have a number of them and like them all over the place so [Music] my old C7 was dark and yeah this is warm but it still has it's dark it's warmth but it has still some brightness to it [Music] this is really lovely incredibly responsive yeah no it's a nice piano and I was mentioning it before we have the disc glavier in there so we can actually send it midi data and have it play back piano for us so we can reamp stuff if we need to fix stuff which is kind of a cool feature uh just in case someone can't play stuff perfectly or we need to uh so no it's a cool it's a cool piece and it records really well I mean it's uh I mean you could put anything up and record this and it sounds pretty nice so this is one of the best c7s I've played yeah this is a weird cabinet there's two 15s and two twelves uh Bill Keller from Macedon had a signature Friedman called the butter slacks head and this is the matching cab so 215 212 so it's got some more weight to it than a normal 412 for like some more distorted bass parts so that gets used quite often in conjunction with more of a traditional bass sound through the SVT and so uh buyer m88 on that and normally we have some variation of the FED 47 on the A10 cabinet wonderful I think are we covering everything let's just do a little bit so nice selection of bass amps here yeah is that a beef what is that is that B15 it's just a 15 inch speaker cabinet in the amping style so everything else we have is either these are 10 inch 410s that's a single 12 these are 10 inch so it's the one thing that's got a 15 and I think that when you need a 15 it's got to be like that sound as a sound so right we uh kind of make that our fake B15 and so dial it in more mid-ranging and not quite as you know a Punchy 10 inch thing so great yeah some cool options uh funky upright piano everybody needs a funky upright piano oh yeah yeah we found it in the back and we're like that might be cool and so far it has not been cool but uh still waiting to find the right thing for it yeah [Music] maybe if it was tuned it'd be cool [Music] it might not be worth as much as a tuning but we're gonna find out [Music] oh that's age yeah someone traded it in it was going to be a dumpster piano we thought it was worth saving because it looked really cool and it has that sort of weird resonant thing that it's just if it's in tune it might be cool but even like getting someone to talk I'm teasing we have two of these yeah they're cool we have two like crap pianos we've got um and actually they're really fun songwriting tools and if you want that I hate the word I'm going to use it Vibe where you want to sort of make it feel oldie worldly a little wrong yeah it's a thing and my other thing I always say is like you know your crap piano my crap piano we're the only people that have that sound where it's one of the problems or realities I should say of of now you know having access to the best piano sounds ever is everybody has access to the same piano sound no and I mean like even like you know whirlies and Roads and stuff like that are pretty consistent you can find a piano that has its own signature yeah and you know that's the thing so you know attack piano or something like that there could be a thing that's always neat I hate seeing instruments go in the trash I agree so talking of instruments um nice selection of guitars all over the place I did have to go straight to this so that'll be a weird one for you once you pick it up oh is it tuned oh it's Nashville yeah yeah so that's fun [Music] yep it's done for Nashville it's gorgeous day so that's a nice one that layer is really nice we have a Martin uh d28v g18v uh on the other end of that rack that is amazing a federa base some five string stuff those are some cheap guitars that we just have sort of kicking around this is a spectacular instrument looks beautiful oh it's so light [Music] foreign [Music] that's great it's like Spanky and Slappy just you just want to kind of play country licks on it it's really nice yeah so yeah we I mean we have a sort of rotating cast instruments those are a couple sort of cheap beater guitars that just sort of made its way into the studio and right um you know pbase Strat there's a Brian May wired Strat over there with like this sort of Brian May pickups and wiring uh that's sort of an interesting thing you said Brian Mace of course I had to go to work he said the magic words oh wow yeah yeah with the almonds who did that uh the guitar shop here they were doing some stuff um they shot some videos on some Queen guitar sounds and some recording about queen stuff probably four years ago and so don Carr one of our uh content guitar dudes had that made and so that sort of has all of the same electronics and wiring as Brian's guitar would so you can get close to the the sound of his thing P bass or Washburn yeah got it all covered wow sort of a piece well m160 so what's this is this kind of a that's an anniversary m160 yeah just a silver version of that I used to have some old 60s ones with like the old school connectors on them and stuff that I sold which I'm you got the 565s up against the Royals are you noticing anything with those the five or the 5 45s yeah they're the new ones yeah and they're amazing and we use them all over the place uh guitar snare drum yeah they're just like a 57 without the kind of really nosy kind of knock to it yeah just makes them a little bit more pleasing and so yeah anywhere we need like a 57 style thing that's kind of what we transitioned to so 121 and a 545 is sort of like a standard configuration for most of our guitar tracking we do something you know like that's the m201 and an ma37 Mojave so it's sort of a different flavor but you know usually a dynamic and something so uh the Royers definitely our first choice and then you seem to really take into those uh those 5 45s yeah and you know I've messed around for years was like you know using telefunkens a lot the m81s on drums and stuff like that and they still appear a bit but these are sort of you know my flavor of the week and I've been digging it it's been getting me the results I've been wanting so but yeah this this room sort of is kind of set like this sometimes we have four or four twelves and some combos on top or switch it out it's all patched into the control room so we can switch between heads have you know SGI extenders here so we can you know plug in Combos and this is a great the magnetone stereo twilighter there's like two power amps in it so it's like true stereo vibrato and trim so it's this massive sound that we use that on you know the pair of m160s on it is there anything about the anniversary that's different or is it just a look it's wired on uh pin three hot so it's actually out of phase so like traditionally like how they would have made it so that's the one thing when we have a pair of them we got to make sure that we're paying attention so right uh but other than that they seem to be very similar the buyer stuff I think this is pretty sleeper and I'll let a lot of people talk about it but the m160 in particulars that am 88's a big favorite of mine under Mason and kick drum depending on the style of music so yeah bass Kick Drum and vocals yeah no totally it's the way to say that's one of the most the 201 is also uh you know sort of uh maybe a more high five 57 type thing and that's something that sees a lot of action you know on guitar combos with different mics and snare top sometimes no so sorry so this is this is the Sony is it so that is the Mojave ma37 which is a copy of the Sony c37 yep so uh very cool Japanese version of uh a German Tube Mic copy from back in the day um but very cool on guitar I'm partial to them on Toms if I trust the drummer enough overheads are pretty cool vocals they have like a weird tonality to them so it doesn't work on every voice but right another cool flavor to try amazing yeah we did try those out and uh our good friend Manny Nieto did a video on them and uh pretty amazing sounding mic yeah no big fan but the 545 is one of the things I'm most excited about yeah now if you haven't heard it we'll pull it up and I mean I have from when I was a kid because right yeah I used to go to music stores and you could buy those for like you know nothing yeah and everybody wants a ton of money for the old ones now too which is kind of funny because they would have them with fixed cables yeah and uh some of the older ones with like the 90 degree connectors and you know like all that old sure stuff now is fetching a pretty penny on like the used Market which is kind of funny that it's still just a hundred dollar microphone um but anyways to be honest these new production 545s have been really impressing us so I would say if you're in the market for that sort of thing yeah I'm sure that there's so much gear that is some gear is made of as Engineers like to call it unobtainium yeah made of certain like pieces of things that can't be made anymore I feel pretty strongly that a 545 is probably made of the exactly the same stuff that was made of 40 years ago no and I have I have one of those uh Sennheiser 409s like the old goldfest ones that are worth thousand dollars now are they a pair of those yeah no and so yeah exactly but you know like that's the kind of thing where it's like you throw it up against one of the new models and it doesn't sound the same does it sound better or worse it sort of depends on the situation you know it's just a tool at that point but a valuable tool well amazing and just amps everywhere I mean this is for you it must be just Paradise because you can just yeah I mean there's a bunch like I got a cream back on one of these super cabs there's an old celestion Greenback uh this is a cool Rivera modded Deluxe Reverb that is sort of um like this you know you think Steely Dan session Yeah clean guitar sounds uh that's really cool uh a REV generator 120 down in the corner over there it's like a super cool amp made by my friends at Winnipeg uh that does a lot of really great things they're amazing I had one of those for years yeah as a loner okay a couple of years and I had to give it back I know I really regret it you know the clean channel that is insane spectacular massive I feel bad that it's sitting on the floor we'll just unbury it first ah it's quite right I mean everybody's busy I'd rather have Studios that aren't that tidy because when they're really tidy it means that they're not working yeah so anyways the uh rev it's got cool it's got a built-in gate there's some Reverb on it so like you can get all the stuff without having a bunch of pedals and sometimes when you're working fast having all that stuff accessible is really cool so massive clean Channel yeah and you got a little Brian May Vox amp yeah I have one of these two yeah that's a thing it definitely does one thing and it does it really well but um you want to get that last guitar to fit in the mix that's the one yeah uh the little super combo single knob that thing's kind of neat I would use that if I'm doing distorted vocals if I'm recording I could use like a sure bullet or I have a telephone that's hooked up to a quarter inch Jack it's got some weight to it yeah and so that or we do like a green bullet in front of a drum kit into that and then mic that up the same thing so you have some fun here yeah you know fun with audio yeah and I see that you've got the uh Rivera modded uh Deluxe Reverb there yeah there was a Sweetwater exclusive until I think someone told us we couldn't do that anymore but uh it is a spectacular amp it has all the mods that you would expect from like a session dude in LA to have yeah on one of his Deluxe reverbs so it's kind of a nice treat for us to be able to get like some of those really big clean sounds and have that as like a variation because you saw our other 65 reissue deluxes which were kind of a different Beast than this it's great very very nice indeed so drums and I see got a single coals as an overhead there you want to go for that kind of beatly mono mic kind of idea yeah we I find that it adds a lot of depth to the snare so that's been kind of a thing that we've been putting in conjunction with a stereo set of overheads is that a reissue no that's an old that's a pl5 yeah and so EV makes a microphone it's an omnidirectional Dynamic mic and so they make it as a 635 currently you can buy them that was given to me by a friend years ago um uh use it to tune guitars and he's like hey this mic's kind of weird you want to try it and so it's got this weird thing where it doesn't have proximity it's an omni pickup pattern so I kind of just move it in there we saw that distressor that was set to crush that Mike's hitting that and so it kind of brings the whole kit together um that's kind of where it lives sometimes it gets a little too bottom snerry but yeah um it's an interesting thing and uh yeah a bunch of stuff we use a lot of DPA microphones on the Kent which is uh I don't know if most people are using the 4011s on Toms but they have this design philosophy that the pickup pattern doesn't change any Sonic signature no matter where you are on the Polar pattern of it so if you like are talking to the mic it's only getting quieter but your voice isn't changing in sound so anything in proximity that sounds really natural so you don't get the bleed from the symbols you normally get from like a 421 or something like that so it gets a really nice tight Focus sound and is like super high fidelity so it goes way low way high and have ultimate control over that one of my friends that started off with 421s you know JJ's a big example of this it's just like why did we use 421s I think we use them in their 90s and early 2000s because the rejection was pretty good but like JJ always points out the symbol bleed that goes into it is so harsh because I I mean a lot of the choices that I make now are to make my job easier the further I get along so if I pick a mic that does something like that I don't have to edit the toms and clean up between every Tom hit as much as I would if I had a pair of 421s next to it so what's the model called again 4011a 4011 a and it's a DPA yeah and there's so there's a 15 DB pad inside the XLR connector too so you can pad it which is a nice feature when you're using a condenser on a drum I want to get a pair of pair from you guys to try out yeah I'd really like that remember that Eric pair of those try on Toms oh wow you really are going for it you've got yeah same thing there's top and bottom so you right so we for those who've watched the channel we'll know that we did um a right we did a we got some kids and it came into Sunset sound for a day and we in one day we recreated the whole of the Van Halen one record oh yeah yeah because we had the track sheets because the old manager Craig was just a wonderful guy and he let us go in there and track for a day um Eddie actually and Alex gave all the kids like signed photos and stuff and albums and it was really amazing so the kids loved it the track sheet almost every mic on the drum kit was a 5 45. yeah and the and I think the kick drama was in there wasn't it a 57 I think the kick drums were 57s and and the overheads was a pair of four fourteens right and there was one u87 on the room mic mono room mic right everything else was just inexpensive mics like this they work yeah great on drums I mean that's one of those things like I would say nine times out of ten when I pull up the snare Channel because I mean a lot of the choices as you see we got a lot of drums here I'm like I was a drummer at one point in my life I worked as a drum Tech so I have a lot of like tuning skills which a lot of people you know like I think that's a big deal for an engineer to know how to get good tones out drums so getting the drums to sound good so that when you put a mic on it does what you want so nine times out of ten I'm not even really eq'ing the top mic and I used to like carve carve carve and so it gives me what I want as long as I give you know if I bring the right drum to the table for the song I think it works quite well so it's amazing so you've got some fun um oh wait we've got this so the overheads would you talk about yeah briefly what is the stereo there so uh the chefs cmc6 mk4s so stereo pair of cardioid small diaphragm condensers so chefs probably more well known in like classical recordings and things like that but like just a really natural realistic representation of the drum kit it's going to be an Indiana thing so when I'm in Bloomington when I was traveling there that's what we use the mk4s for overheads and that was like when I first arrived there and my good friend who had actually should be here this afternoon you'll meet uh Michael Starker who's a professor at IU Indiana University cool in Bloomington he was like the head guy at the studio yeah yeah and super smart engineer melon camp like great credits yeah and a professor and he's like no you've got to hear them and I never bought some mk4s and here I am the only other time I've ever seen anybody else again in Indiana and through the the mag preamp man that is like the less you do the better they sound and it's really a nice thing and I like that the XY thing gives me a pretty wide image depending on the drum kit we'll maybe go space pair or you know if it's a metal thing you know individually mic symbols we have so many different styles of music and different musicians that come in that either are completely different stylistically or setup wise or hyper specific to like their sound and so we got to kind of work our way around that and that's a really powerful thing to say there because that's our job isn't it to understand what is the best solution you know because that that's my favorite sound of a drum kit because it's a totally in Phase representation of the drum kit yeah but you're right if you're doing death metal most of the guys I know like Bob Marley and stuff are just individually making symbols because all they want to hear is so and Bob was just here Bob was here yeah he did a master class with us and he uses chefs at home as overheads right but he gets hyper close to symbols like very much isolation not interested in the whole picture of the drum kit it's like the overheads are symbol mics at that point too so yeah no and it's because he just needs him to cut through the right you know the heavy guitars yeah he's not trying to produce a beautiful Jazz kit no and because there's no room for the beautiful Jazz kit because there's a wall of stack of masses and then all the drum samples that actually you know creep into those kind of Productions too don't you know like the actual sound of the drums don't end up existing as much as we'd hoped them that they would in that stuff but it's not a zeppelin track where it's like a Telecaster into a Supra yeah yeah um no it's amazing it's absolutely amazing yeah it's but it's learning all those skills I think yeah for young Engineers coming up now for any of us coming up we need to know all the 55 different ways of recording depending on our artist yeah I know really I think is something that you know when when you get someone that's like I do it this way and it's you can't I mean music is creative you know and hopefully what we're doing is being creative in a way of capturing the music that's happening in the studio so it's not like every day this is going to be the solution to the the capture right and so you know I found we had a guy in last weekend uh bone Zone Institute a Nashville guitar player probably the most impressive Guitar Rig I've ever seen Peak Cornish pedals three High Watts totally dialed in everything he had was like a sound and I was like well he's got that figured out I got to figure out a way to reproduce that and not screw it up I can't get in the way of what he's doing because he's kind of figured all that stuff out and I think that that's something that when you're super tied to your process you can't let the artist through the process which yeah I think is really important yeah there's no one way to do anything no yeah and you're right it's a constant thing that we talk about is putting the answers first and get setting our egos and putting them aside um the the guys in there guys I know the you know the the busiest the ones that are able to do that yeah and I think that you know the motto of uh whatever sounds best wins I think is a good thing to take and if it's wrong it sounds right it doesn't matter what you've got creeping inside the kick there so I usually have a combination of uh I do like a sure beta 91a uh for an inside mic to get the attack not always really needing a super attacky kick drum but that in conjunction I have an old d12e which is a very mid mid-range sort of Kick Drum mic it's not very scooped so yeah um that's something that I kind of really dig it sort of you know reminds me of like an AC DC style Kick Drum I'm not like a big boomy Kick Drum but yeah yeah mine's broken I don't have anybody that fixes them I have two broken ones in my office so this one works okay but yeah the dying breed um but they're very cool but I like you know you have the shore in there which is for those who don't know it's like a boundary mic it's an actual Square yeah and so that'll get you instant heavy metal kick drum sound if you want it I just like it because it gets me a nice attack on the beater and I don't have to did you learn that from live yeah and I wouldn't really touch it in the studio until I started like relying on it on a way that it just gave me the brightness and the attack on the drum without bringing in all these overtones of what I'm trying to boost on a microphone that doesn't have a lot of that so yeah and that's great like because as Sean says you just you just lay it in there yeah so hopefully on a pillow it does rattle if you throw it on the woods so um there's a cool thing we used to have on some some of the drums here and when I was on the road called the shoe Mount and it was like a suspension Mount that you would put that in it would just sort of float in the middle of the drum which I've seen this so what that presumably is a fat 47 reissue or copy or uh it is a copy that's the warm fat 47 I think Junior uh or maybe just the regular fit 47 copy they have we have uh the United one we have the Neumann one we have that one um to me that's a microphone that I end up sculpting a lot too so those are kind of interchangeable to me I mean I think the Neumann one sounds quite good but this is a less than a quarter over the price too so it's like that's an 800 mic that's a four thousand dollar mic so you know uh depends on the situation but I find them to be totally the thing I want each one of them sounds a little bit different but they're all really kind of they give me that chest sort of push of air that you get in front of the kick drum so I'm usually some kind of condenser on the outside in conjunction with those other two mics and um then it sounds like a kick drum I think usually absolutely uh aea is that the stereo so stereo ribbon the r44a so it's the active one so it has a boost in it so there's a little bit less amplification that's needed noise floor is a little bit quieter to me that gives me uh a real like I'm standing in front of the drum kit this is what it looks like and what it sounds like and so the stereo Imaging on that's really awesome and that kind of when I pull that up I really get like the picture of the kit and so I quite like that I've probably not recorded drums without one in 12 or 14 years it's been a pretty consistent Piece of My Drum puzzle for some time now so very nice but then you've got a 251 back here oh it's a C12 yeah I don't know why I said 251. I suppose because the Elam 251 and C12 are essentially the same mic a lot of similarities yeah so a pair of c12s pulled back yeah I mean uh somewhat extravagant but uh when I use c12as on Toms right yeah yeah so I understand extravagance yeah no and it's one of those things that I've always kind of felt that you know if you have access to Great gear use it you know and so we have pairs of all these great microphones in the building so this is something that we do and it's it really kind of you know allows for us to capture this room that we're in that sounds good and then also really kind of get like just some fullness from the drums these mics sound huge so I'd love to hear these I actually have not we've never done anything with Telefunken I'd like to hear these it'd be interesting because obviously AKG don't make a true C12 they make that VR which is a different b style it doesn't sound like a C12 no yeah um and so these These are spectacular mics I mean as far as vocal mics acoustic guitar overheads I mean put them on bass guitar too sometimes it just is a little much depending on who's playing feel like clay or Jerry told me that they had a C12 on on um Paul McCartney's base yeah so if you're doing a B15 one of those in front of it is like mint but um if it's a really loud SVT it probably wouldn't put that much you know what I mean so uh situation dependent but yeah spectacular mics and soon and we'll hear what this stuff sounds like yeah we'll have a listen [Music] [Applause] [Music] ing at the moment so all of them so that's oh four with eight bikes some together so um seeing as we're in this studio with um was it 500 000 square feet worth of storage of guitars and amplifiers and gear and stuff I thought this could take a few minutes and you know seeing as I'm allegedly a guitar player we'll sort of play around a little bit have some fun so what is this Les Paul Uh custom shop uh I think an R9 so a 59 reissue probably about four or five years old oh it says well it says what is that assistant 94 to 2014. so older than that nine years old nine years old okay so that's been around the studio for a while I think it was floating around the building uh and uh it's a great specimen of a new beautiful Les Paul so [Music] we got that we brought out some pedals to play with um and we've got the your switching system going on with how many amps four different amps four different amps four different cabs uh eight bikes two per cab so a couple things that we go to for uh tone shaping things a lot of stuff sort of starts a little bit cleaner then we add some stuff depending on how we're gonna drive it so uh I got a Paul Reed Smith hx100 which is um his copy of Jimi hendrix's Woodstock head supposedly it was uh mirrored in the vein of that so 100 watt Marshall so we got hold of that head yeah reverse engineered some stuff and so that's going through the matching cab to that so 412 that's out of the ISO uh that's been a go-to for a lot of stuff um we've been tracking uh Joe James Nichols has been through a few times he's played through it uh it's got a really great marshally thing without being too brittle or anything like that it's got just a nice balance sound to it so that's a bit been a popular thing in a lot of the stuff we've been tracking next up uh this is z-rec Dr Z uh just sent us this this is his personal amp so we're trying it out um I saw one in the used store someone traded in I got a hip to it by a producer friend of mine Gavin Brown who's got a comment which is a train wreck copy of another variation so we got this it's like super chimey and bitey but lots of headrooms so it can go dirty but it's like a nice platform to push with pedals or fuzz pedals and stuff like that so that's into uh Marshall bhw uh uh 4 by 12 cabinet that's got the g12 H's nice so that's one of our favorite sounding cabinets next one down is uh freedom and Dirty Shirley now that's an older version they have a two Channel version that's in production now but it's his version of a jtm 45 with a couple different booths on the front so I'm also going on here a lot of Marshall um but not Marshall not Marshall uh we do have some Marshall and I mean these are like the flavors of the week and like we do sort of swap them out as as it calls for it but these are some flavors we've been digging on lately so that jtm 45 has a nice clean platform but also has a great Gainey thing so you can kind of get into it a bit more uh there's a bit of a lift on the two different inputs on the front so that's kind of a cool thing it's like a mirror is like what you would do if you were to jump some Channels with a single gain knob so that and then so the Nano SLO 100 on the bottom which is um if you don't know you should know but it does High Gain spectacularly crunchy sort of like mid-gain stuff and the clean on it's pretty great so between these amps you can get a lot of things and they sort of take a platform of pedals really well depending on what we want to get into or the style of music we have you know we got a diesel 5150 some other Friedman stuff you know dual rectifier so we can get into that territory which is you know usually fairly specific if that's the sound we want this is maybe more of a palette of like Hey we're looking for a sound and now we can kind of blend between them so uh yeah gives us lots of options and all the stuff's patched in we got a amp selector here so we can choose between the four make combinations of them or use one at a time and uh yeah from there over to the console by you we got all eight mics showing up on our 5088 so uh 545 121 on the first three cabs yeah and then on the last cab we have a buyer m201 and a Mojave ma37 so okay check the polarity on them to the amps are out of phase from the other two so made sure they're all working together so that's something that we try and keep tabs on because uh let's have some fun with each amp spend like a minute on each one so just hey it's just a pull Reed Smith and see what it can do um [Music] [Applause] so the base volume base volume brings up that sort of meat to it so a little bit a little bit goes a long way yeah and the treble volume obviously is [Music] right switch [Music] all right [Music] [Applause] [Music] foreign [Music] that's lovely yeah yeah that's what I want from a great tube amp yeah it's it cleans up but then that breakup is so nice and just well-rounded [Music] thank you yeah it's fantastic very Dynamic camp and then the z-rack yeah what does that do so pretty you know Baseline kind of chimey um if I'm not mistaken El 84s in the power section so class a ac30-esque power section right with a cut so if you're just playing a little bit foreign a bit [Music] [Applause] [Music] [Music] [Music] yeah very dynamic as well yeah ridiculous how clean you can get it from Just performance stuff yeah no it's nice and that sort of note definition I think is really important because when you start getting into weird petals that are fuzzing and compressing and if you get into that realm if the amp is like a nice solid platform then you kind of have more intelligibility on the actual notes and stuff so this is Friedman Friedman um and I gotta say too like with all these amps and so many options like I kind of go by the the rule of five so I set everything at five or five or noon yeah and try the amp and that's kind of my test on whether or not it's a you know gonna work for what we're doing so a lot of these things is I like to kind of try and keep things especially tone control in the middle and then if I need a little brighter I can do it in sort of like any of the engineering side of things if I need to change the tone move the mic you know do some swapping on that side of things so you'll see a lot of this stuff everything's kind of living in five and we kind of get good control over the tone when stuff's like that gain obviously is a different beast but that's kind of where we're at on these things so this one it's a low and a high imp lement [Music] so a little bit cleaner gain and then I can bump it up [Music] [Applause] [Music] [Applause] [Music] thank you [Music] [Music] [Applause] foreign [Music] [Music] so nice flavors yeah I like I love that one a lot um not quite the dynamic uh split as the z-rec is pretty remarkable on that and Paulie Smith at one as well yeah so that that I've never played with that one a little bit [Music] thank you [Music] love less gain is just the gain control itself yeah I think when you take that down it also takes out some of the low end yep so yeah it's a little less gang [Music] let me go back to the z-rack yeah it's mid-range City isn't it you know I think almost AC for 30-ish yeah and I think that's kind of the realm that to me the Friedman they came out with a two-channel version so both of those game stages have independent EQ now which it seems like it almost needs to be tweaked a little bit for each of those settings so switching between them isn't quite as usable I mean the Freeman's an amazing sounding amp the the z-rack is all mid-range forward by then so [Music] those together [Music] take the Freeman off a second put a tiny bit more low lows on the Friedman so it's all about that [Music] [Applause] thank you yeah it's pretty amazing yeah so yeah I mean like those kind of combos like that kind of gives me those two flavors together and I still only have one channel going to Pro Tools which is super slick so yeah I love being able to blend that sort of stuff Let's uh go down what's the z rack and the paulry Smith Light together yeah that could be pretty okay [Music] [Music] Paul Reed Smith and the Friedman phase cancellation guys yeah there's a little bit of weirdness we're not totally out of phase but they're not working well together yeah they're not working well together about that that extra take that bite from that z-rex kind of really pushes that whole sound together what do I just hear two seconds ago that's the z-rack and the Paulie Smith now [Music] [Applause] [Music] yeah it's pretty remarkable yeah so last but no means least let's listen to the metal of the metal list of all of them the saldano okay it's on the clean channel so we'll start there which is a surprisingly great clean sound [Music] [Music] yep great clean and clean thing on National clean day [Music] oh yeah [Music] foreign [Music] [Music] [Music] foreign [Music] [Applause] [Music] [Music] channel is nice [Music] again very mids [Music] is there a bass boost on it um depth knob there's a Death Note you can bring it up a bit yeah it's all the way up that both helped it's nice [Music] but it still has that chainsaw doesn't it yeah it it hasn't like teeth to it and yeah that's through vintage 30s that's a Soldano cab and same thing the Friedman was through uh 1960 ax so uh greenbacks on that one so this is supposedly what uh Mike Soldano paired this amp with these speakers he's tried a bunch and live in his 30s but I do find them to be a little bit you know aggressive sounding they do sound really nice too like the other Marshall cabinets we have too so um it's pretty ridiculous how much gain that is and yeah it's clean and yeah [Music] [Music] that's with the wreck in the SLO so the Z Rec and SLO together so Saldana and the z-rex foreign [Music] [Music] foreign [Music] [Music] [Music] pretty amazing yeah no it's fun I mean and that's we haven't even touched pedals yet so that's like you know the whole thing is like I feel a lot of the blending of this kind of gets me like a at least a Baseline and then each individual part might get a something depending on the production but it's one of those things that I kind of build it with this in mind so I have all those components that we're hearing right like that you know the z-rock kind of fills in the little spots the other amps aren't there so it kind of gets you this sound that you know isn't out of the box with any one thing but a combination of those things really kind of yields good results what's your switching books uh Voodoo lamps uh amp selector I've had for years uh I'd like a bigger one with more outputs I think because we've been trying more stuff there's another radio box that does seven so I think we're looking at getting more outputs but uh this is nice it has you know I can pull back the input to each amp so for pushing the front end on something too hard I can dial it back a bit ground lifts and stuff so that's sort of what's going on here and you could you can put pedals in the line for each one yeah and each each output to the amp we could sort of patch more stuff in yeah plus we could get into the effects loops on the amps and things like that so um well enough of me flattening around let's listen to the great Jared James Nichols with some stuff that you record is here like a week or two ago yeah so Jared James Nichols um old friend of mine I think I did the first or second album or first two albums great guy and you've done a lot of stuff with him as well yeah no he's been through a bunch of times we did uh some stuff uh some live stream stuff during the pandemic we came and did a performance and uh we've done a bunch of singles and cover songs that haven't come out yet we got a couple things in the can that are coming together but we're gonna look at a cover Alice and Chains man in the box that him and his band did here that we recorded through the console and pretty excited to show you nice yeah love to hear it yeah so um it's another big thing for me because Dave Jordan's a very old friend of mine yeah original originally produced the uh Alice in Chains version of us yeah so we'll uh we had uh the band in the studio playing together uh the guitar ISO wasn't all the way closed it was bleeding to the drum mics and stuff like that uh we're not really uh doing much much for edits uh on this track but I'll give it a roll here and we can hear what's going on [Music] [Music] I am in the Box [Music] share wow [Music] save me save me [Music] Jesus Christ [Music] [Music] [Music] that's great can I hear that just a drum solo so uh our Ludwig mahogany kit yeah he's playing and turn off the Reverb so this is oh yeah ballistic so yeah there's a little bit of a little bit going on there um but uh and Dennis uses Tree Trunks and full arm swings and so he's hitting those as hard as he possibly can which was nice brings out a lot of energy in the room so it's a great place yeah and Jared was playing a really loud we had 100 watt Marshall and 100 watt POS amp and a black star amp and a magnetone all sort of combined for a lot of noise but it really worked for him and led into the drums there's a base time [Music] so uh mudbucker SG base so one of the big sort of Gibson base pickups it's sort of fills up a lot of space you can hear that it's microphonic and picking up some of the snare drum because he's standing in front of the drummer so uh pretty heavy fun so we got a little Dave used is use five inputs on the base oh really he had a DI a [Music] 15-inch cab um an 18 inch cap miked by an 18 inch cab so what it was is like so you just get a yeah yeah the lowest of the lows it's the Jeff Emerick trick from Taxman and last but no means Elise do you remember that art sgx night base okay base rack mount unit yeah so okay yeah it was lens all of those elements together and he he would aggressively EQ on the SSL so they all kind of fit in a certain area yeah back in and that's how you get that massive Alice in Chains base yeah no that's amazing I'd I've never well I've done like the you know ns10 sort of sub kick then on a base cab but never an 18-inch driver yeah yeah no I mean I'm into that so but yeah this was um if I remember correctly we were going through a couple amps I think we were blending them or it was uh we'll have a listen here we're pushing the amp pretty so yeah I can't exactly remember what pedal he had on his board where we had it pushed pretty good but together thank you kind of fill out that bottom end pretty good but nice I think we could you know I like those ideas I have not ever messed with that so yes it's Dave is uh very gracious he's like oh that's just Jeff Emerick you know I stole it from him but um I I started doing that a lot when I was working with Jared and Phil um back at swing house back in the day I'd have a 15-inch cab and then I took a 15-inch uh monitor cab yeah and just battered it up against it and yeah you know you run the speaker back through a DI box into a mic pre and you've got you've got the world's biggest my biggest microphone yeah no that's cool I uh we'll mess with that we have to have a lot of speakers around here so we got something yeah you don't have any shortages equipment yeah so we'll find something but yeah I know that's a cool that's a cool trick I like that um but yeah so then the guitar tracks on this stereo single channel so bust through the Rupert Neve console so I'll play one at a time uh and then together and so that's gonna be four amps that we had going uh miked up with 545's Royers probably the ma37 uh M 160s on the magnetone so a combination of things all kind of working together uh Jared um has trusted me in kind of putting stuff together for him on these sessions we've been doing so this is what we ended up with so [Music] [Applause] um we did break two ribbon mics on this session so there are some spots where there's some ribbon flap you can hear on one of the Royers and one of the m160s was sick after this so we did discovered so tracking a little loud it was really loud it was fun but I mean the energy in it and in the session she was one of those things like I didn't want to change anything and everyone was having a good time and we got this on like I think this might be uh the first or second take of the band playing the song So energy was great The Sounds were good uh some stuff kind of got mutilated but uh in the end we have this sort of like sounds like the speaker's tearing but it's actually the microphone on the on the cusp of that but you know pulling that back together with might be a little expensive for every session yeah only for Jared thank you and then uh the solo section is pretty cool I mean when you let Jerry go loose on a solo I mean he had a few takes of this I think this might be one of the early ones maybe a second one he just went for so laughs so we had room mics in the guitar room as well so that's an sf-12 I don't know 10 feet back in front of the rig [Music] [Music] yeah amazing he's an incredible player absolutely incredible and entirely with his fingers just like Jeff Beck I love it yeah no so much more expressive yeah no it's pretty amazing I've seen a few people come through with as non-pick using guitar players and it's really interesting the approaches to that we had a guy in last week bone zones a Nashville dude also not a pick guy but played through a bunch of high watts and really had it sound dialed in and it's pretty neat to see you know some people like you think about like Brian May with the the 10 pence piece and you know six six pants and the you know Van Halen metal pick stuff like that attack is so different than a guy that's well I ended up using uh like a 60 mil 0.6 mil his own brand but basically a gym 0.6 it was actually quite soft it was so that can considering how much of tacky got there's stories that I had heard about the metal pick maybe um out of maybe that was earlier yeah um but that that whole playing style with you know even the rhythmic stuff that you can do when you have all five of your fingers it's all about the touch yeah and it's gonna have a heavy pick and use it light or like Jared you're using because he doesn't even grow his nails no no nail it's all just flesh yeah and yeah it's so much attack but just off the Flesh of your fingers which is crazy and I've seen like uh I worked with this band Bright Eyes back in the mid 2000s and he Connor would get fake nails right and that would be a thing for the sound on that or finger picks if people are doing that but like yeah Jared is just a monster that this was probably the first session he was using Dorothy on I don't know if you're hip to that but it's a 52 gold top that he got that was lost in a tornado with a missing headstock one of they think the first 20 Les Paul's ever made on the production line so it was new to him and so we did this session and I don't know the guitar was sort of awe-inspiring but then Jared playing it was also you know incredible yeah it was pretty awesome absolutely incredible well the good thing is is that these multi-tracks are available for download um Sean Jared and Jared's manager our old mutual friend Phil have agreed to let you download these for free so there will be a link down below you can mix them to your heart's content and they're incredibly well recorded I love the fact that everything's kind of bleeding into each other a bit it adds to the energy yeah no and uh you know it's you no edits really from the text I think I splice a little bit of drums and stuff so it's a pretty like intact recording to kind of play around with so I think it should be pretty cool for people to check out excellent so link Down Below download the multi-tracks and mix to your heart's content and if you're a producer like a pro Academy member we of course will review them as well [Music] foreign [Music] [Applause] [Music]

Channel: Produce Like A Pro

Views: 167,876

Keywords: Warren Huart, Produce Like A Pro, Home studio, Home recording, Recording Audio, Music Production, Record Producer, Recording Studio

Id: GemjXry1uTo

Length: 120min 44sec (7244 seconds)

Published: Tue Mar 28 2023