It was a while back when Monty McClinton (son of Delbert McClinton) came in to do a CD in the style of his Dad's earlier work. We put together a band and went to work. It was important to at least try to let them all play together at the same time. Still, we put our Drummer; "Rockin' Ron" Thompson in the drum booth for isolation and camped Aram Doroff and his Bass right in front of the big glass window. No matter what else we did, I wanted that tight Drum-Bass foundation.
I used a D-112 through a dbx-576, but wasn't getting everything I wanted out of the Kick. I didn't know if it would work with this kind of music, but I pulled out a home-made version of the Sub-Kick that I'd made to use on another project. It's a Bazooka 4 ohm - 8 inch Woofer inside an old snare shell. There are mesh heads just to keep fingers off the speaker.
A little goes a long way with the "Ghetto Sub Kick". I just kept it as a separate channel to blend in as needed.
Next, I used the Masterpiece to add depth along with a touch of the Aphex 204 through it's auxiliary. (I know, a $200 piece of P.A. gear through a $19,000 piece of mastering gear. But it's all about using the tools you've got... right?) Up to this point it's all been analog. Then it hits the EL7-FATSO for more subtle compression - Warmth - and Magic. Then the Finalizer turns it into pristine digital for it's trip into the DAW. We took it to Jerry Tubb in Austin for Mastering.
I understood Delbert was pleased with his son's private tribute.
Hear a short sample at: http://myspace.com/roughwoodstudio

When You see a Baby smoking a cigar, your in the right place.

Thanks