|
|
Joined: Mar 2000
Posts: 2,729
MP Hall of Fame Member
|
OP
MP Hall of Fame Member
Joined: Mar 2000
Posts: 2,729 |
I've heard reports of some LA producers arriving with gear collections that include:
3 drum kits
3 or more Gtr amps
Vintage guitars
Hammond organ and assorted other electric pianos
Thier own engineeer, assistant, pro tools person.
Boxes of percussion
endles synths, etc etc etc...
Racks and racks of outboard
Doe this happen a lot?
Seems like a 'I've got the best toys, come play with me!" situation, dunno....
I do appreciate, that with their money, they are trying to limmit the chances of getting a bad signal to record by providing the very best sound sources.
Jules
[This message has been edited by Julian standen (edited 03-25-2000).]
|
|
|
|
|
Joined: Mar 2000
Posts: 1,552
Platinum Member
|
|
Platinum Member
Joined: Mar 2000
Posts: 1,552 |
They just forget to bring the talent.
------------------
Bob.
|
|
|
|
|
Joined: Mar 2000
Posts: 310
Senior Member
|
|
Senior Member
Joined: Mar 2000
Posts: 310 |
I can hear differences in guitars and amps but the player is always more important to good tone.
It seems to me that many times you have to learn the particular traits of the instrument or device. You need to experiment to find the sweet spot. I can see a producer wanting to ensure good tone by bringing some good equipment to a studio.
|
|
|
|
|
Joined: Mar 2000
Posts: 39
Senior Member
|
|
Senior Member
Joined: Mar 2000
Posts: 39 |
I bring a lot to the studio in order to make possible any and every option I think I will want to explore on a given project. OK, I don't bring 3 drum sets and 5 Hammond but few guitar amps are in order, I make the drummer bring different types of snares and skins fro the drums. I'll bring a lot of outboard gear such as pre amps, compressors, cables, a sampler to fly things around - anything needed to get the job done. Last week I even pulled out my camera to let an uptight artist something to do while we were getting the sounds, just to keep him occupied and happy.
And I do'nt even live in LA...
Overdrive
|
|
|
|
|
Joined: Feb 2000
Posts: 547
Gold Member
|
|
Gold Member
Joined: Feb 2000
Posts: 547 |
What the hell. It's good to have your tools with you. Not only that, you support the local economy by employing the guys that have to get the stuff there, the guys that have to set it up, don't forget the extra studio time..........hey, whatever it takes, make it great, use what works for you (after you find out what doesn't, of course). Think big, you've got nothing to lose....do you?
|
|
|
|
|
Joined: Mar 2001
Posts: 0
Member
|
|
Member
Joined: Mar 2001
Posts: 0 |
Jules,
Imagine pulling up Wardour Street with the items you mentioned in the back of your Vauxhall Nova (well, perhaps not yours...).
In LA, there's space, so you can get away with this. I think it stems from wanting to be able to reproduce te same good results you had in the past. That's why so many people use some piece-of-crap guitar/ they found for 40 bucks, it works on one tune, and they cart the thing around with them forever more like it was an unfailing piece of their puzzle. If it wasn't there, they'd get the shakes!
|
|
|
|
|
Joined: Mar 2000
Posts: 2,729
MP Hall of Fame Member
|
|
OP
MP Hall of Fame Member
Joined: Mar 2000
Posts: 2,729 |
Yes, in a mag one Nashville studio owner refered to the 'refrigererators, (racks of flightcased gear) that engineers bring to sessions as their 'security blanket'.
Jules
|
|
|
|
|
