OK, so the new CD hasn't even been officially released and we have our 1st review already! LOL It's all about promotion kids! LOL
That said, the reviewer, my good buddy Marvin over at Blackcat Rockabilly Europe mentioned at one point that I "put a little distortion on the guitar amp and out comes Little Juliet". Allow me to say this: I do NOT use effects! I've never liked them. I like the sound of a guitar through an amp. Period. Full stop. Nuff said.
That said, I used the same amp on every song on this CD. In fact, I don't even think I changed the settings at all during the sessions! I did, however, manage to get a nice array of sounds. "HOW?" you may be asking. Well, I'll tell ya!
When I play, I keep my volume & tone controls wide open. If I'm using my 1960 Gibson 175, especially for a rockabilly song like "Starlight Starbright", I'll use both pickups and maybe dial the neck pickup back a hair. If I'm using one of my Telecasters, it's gonna be on the bridge pick up, everything full on! The pickups define the tone of the guitars...that and the wood used in the construction of the guitar. My 1971 Tele Deluxe (which I used on "Little Juliet") has mid 1970s DiMarzio Super Distortion pickups...so it gets a unique, grungy sound...Link Wray would be proud! My 'normal' Telecaster has a Joe Barden bridge pickup. Thank you very much Danny Gatton! My ancient Gibson 175 has stock humbuckers. That guitar is amazing! It survived a fire and sounds hotter than anything else I've ever played! For the rhythm guitar on "The Last Time", I used an early 60s Airline Stratotone guitar. This was an el cheapo sold by Montgomery Ward Dept. Stores in the 60s. The intonation past the 5th fret is dubious at best but it has a one of a kind sound! Think Bradley's Barn meets 60s garage band!
So how do I manage the different sounds? It's simple. I vary my picking technique. Sometimes I'll bash and flail, sometimes I'll claw pick, sometimes I'll go for a more jazzy picking technique. It's all in the feel and the way it sounds.
Another deciding factor is the room. On 2 of the tracks ("The Last Time" and "Rockin' In Melbourne"), we put the amp in a bathroom at my engineer's parents' home. There's a BIG difference between the sound of a wood-lined studio with 18" thick walls and a room with tile, linoleum and carpet! The amp in question is an old (circa early 60s) Supro amp. 1 12" speaker, a volume knob, tone knob...and that's it! No muss, no fuss! Just plug in, turn up and go!
Before my engineer and good friend, David Granati, calls me up and bitches me out for calling HIS gear "lo fi", let me say this: It's not! David's studio (Daveworld...home of everyday low low prices...at least for me LOL) uses some fantastic state of the art gear that any studio would be proud to use! Korby microphones, Neve pre-amps, and an array of electronic gizmos to boggle the mind. Being limited in knowledge and patience, I always opt for a "let's get in there and just get it done!" approach to recording. While we could spend a lot more time (and money) nitpicking over every aural nuance...that's just not me.
David and I have been working together for 8 years now. We understand each other. He knows the sound I want...and when he's not sure, I tell him. There are a million ways to mic an amp. I prefer to use a close mic and 1 or 2 room mics. I can mix and match sounds during the mixdown...and I do! That's another way of getting different sounds. I don't like to compress sound too much until its time to master the recordings. I want the sounds to breathe as much as possible. I like a hot signal though...a lot of engineers would balk at this...but I like my records to sound like Rock & Roll...not easy listening! I like them to jump out of the speakers and assault the listener! LOL
That said, I like to use acoustic instruments...a lot! Most of the tracks on this disc have upright bass (loaned to me by my friend Bobby Stoeckle. It's a gorgeous old 1960 3/4 size Kay. Beautiful instrument!). An upright will thump like nothing else! It also fills up ALL of the low end! A lot of bands will throw in lots and lots of extra tracks to bulk up their sound. Not me. I like 1 or 2 guitars, a bass and drums. Even live, we fill up a lot of sound...and we're only a 3 piece band! We sound like an orchestra!
I like to use an acoustic guitar for rhythm parts when possible. An acoustic will give that chunka chunka rhythm sound. It's all in how you record it (and play it). On this record, I used a Gibson-made Epiphone. Not a particularly pricey axe! (cost me $170...and that was with an SKB hardshell case!) This guitar can do it all! If I want a sweet acoustic sound, I can get it. If I want a brash, chunky sound, I can get it. Match this guitar up with an upright bass and you have primitive Rock & Roll heaven!
For electric bass, I used a reissue Kay Thin Twin bass. This thing just ooooozed, throbbed and thumped! Its everything an electric bass should be and more! My bassist, Rob Jacob, who only played on 2 tracks ("The Last Time" and "Rockin' In Melbourne") used one of his el warpo old basses. In this case, I think it was his old German Saturn 7. A great thumper if there ever was one!
I pulled out a new trick on this disc. I played "dobro" on a track! Technically, "dobro" is a brand name. I played an Epiphone knock off spider cone resonator. Cost me $200 (with HSC). I think I got that authentic early Nashville sound with it though. And I'm no Greg Leisz! But it did give me a whole new aural palette to play with.
Here's a recording tip many of you probably know (but some might not): When mixing, double check your mixes in MONO. You'll hear every mixing mistake you're making when you do this. A recording might sound pretty darned good to you...then you switch it to MONO and all of a sudden your bass is gone and your cymbals are all over the place! So ya go back and fix it. One of these days, I'd love to do a record completely in MONO. Stereo is overrated in my book.
This record took 3 and half years to finish. But...in all that time, we only spent 9 hours recording time. We mixed the whole thing in 3 sessions totalling 7 hours. We mastered it in 90 minutes. Like I said...Digital Lo Fi! LOL
I hope all of you enjoy this CD as much as we enjoyed making it!
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