Message Board

Nick Sevilla wrote: ↑

Tue Jan 26, 2021 8:16 am

Yes, James Farber. Huge sound.

He's one of my absolute heroes.

Chris Garges
Charlotte, NC

Tony has a bunch of great-sounding drums and cymbals and he knows what to pick! I had the good fortune to play on a session at his place and used a bunch of his stuff. His big-ass kick drum is a beautiful beast. I've never understood this thing where you HAVE to do minimal miking on stuff for a jazz...

Just an aside, if anyone wants to buy an Edison or an Orban Stereo Synthesizer, let me know.

Chris Garges
Charlotte, NC

Man, I HATED the phone call I got about my friend Frank Kimbrough recently. What a genius that guy was.

Chris Garges
Charlotte, NC

There are certainly A LOT of them out now that I haven't heard, but I have a Lawson and that's the closest thing I've heard yet to an actual FET 47, which is a mic I love, by the way. The 195 is pretty good, but maybe a hair more aggressive -sounding to my ears than a real FET 47. Chris Garges Charl...

I totally get you, Rodgre. I think part of the "today" reverb sound are things that aren't obviously digital: plates, chambers, springs, etc. And in some ways, the shittier, the better. And ironically, there are some good plugins that do this stuff-- the UA stuff, Valhalla stuff, Soundtoys Little Pl...

Yeah, this bugs the crap out of me, especially since they all default to "on." I have just gone into PT and set up my own user defaults for all my plugins, which is helpful anyway, but the FIRST thing I do is to turn off that noise. Ugh.

Chris Garges
Charlotte, NC

I have a bunch of spare 20-space rack rails. If those will work for you, I'll send them to you for just a few bucks over shipping. PM me or hit me up through Facebook if I can help you with that.

Chris Garges
Charlotte, NC

We've got about 14 amps at Old House Studio, but a lot of them are really oddball little things. Surprisingly (or maybe not so), it's the weird ones that get the most use. Most bands that come in have amps that they like, although our 70s Marshall Super Lead/4x12 and our tweed Deluxe clone get a lot...

Having a hot level from the jump makes life more difficult once you start adding gain with EQ or compression or saturation and piling on multiple plugin instances on individual tracks... etc. I never run a risk of hitting the red on a AD converter on the way in. I haven't heard it sound good. I kno...

Hit me up.

My screen name at gmail.

Chris Garges
Charlotte, NC

Tasty! And now we know where that Blind Melon girl's vest went. :) Ironically, all that "bee guy" footage was actually filmed about eight years before that Blind Melon video came out. This was footage from a sort of student project someone I know shot when he was in high school. It's just pure coin...

Hey guys, Since I got such a wonderful response from the Tape Op community on the release of our album (I was gonna say, "many moons ago," but then thought better of it), I thought I'd mention that my instrumental prog and classic rock trio, Bunky Moon, just released a new single. It's our version o...

As the weather has been nicer, my wife and I have been going for drives every few days. Just getting in the car, rolling the windows down, putting on some tunes, and just driving for a few hours. We head out of town and when we decide to turn left or right, we do it. We did about three hours (130 mi...

I usually just use a DI (usually an old Retrospec Juice Box tube DI), because it sounds ridiculously awesome and I can then dedicate my iso booths to either amps and vocals or drums and vocals or whatever. If there's room, I LOVE recording an amp and have a beautiful B15N or will use whatever. But i...