BOSS BR-1600 desktop multitracker; Shure SM57s (drums) and Beta Green (overheads) and AKG D112 (kick) mics; Fender American Standard Stratocaster, Paul Reed Smith SE Soapbar Semi-Hollow, Gretsch Nashville Jr,. Epiphone Nighthawk Custom Reissue, and Fender Blacktop Stratocaster guitars, Rickenbacker 4003 bass; Ludwig drums, Paiste cymbals; Yamaha S80 synthesizer, Roland JV-1080 sound module loaded with Keyboards of the 60s and 70s expansion.
Reviewed By: Marty Peters
Recording: Using a modest BOSS BR-1600 multitracker, Tom and Guy have done a pretty fine job here. We love the organ sound; we're not sure if it's from the JV's vintage-keyboard expansion or if it's part of the S80's impressive sound set, but it sure sounds authentic to our ears. We also really liked Tom's electric guitar tones, and the BR's COSM amp emulation shows up big time (guitars, bass and keys were all recorded directly into the 1600) helping to shape the shred sans amplifier.
Tom tells us that the drums were recorded straight into the BOSS in an untreated basement, and this is where things begin to lose a bit of their luster. While we thought that the performance was cool, the fact that Tom needed to pan his kick drums in order to make them sit in the mix (his words), gave us cause for pause. With a relatively small number of sound sources at hand, finding room for the kick and bass guitar in the center of the mix should, in our opinion, not require such measures.
One other thing, guys -- the super quick fade in at the intro felt kind of awkward to us, as if there was a blemish on the track that you were trying to hide.
Suggestions: First of all, we really like the overall effort here. Tom and Guy have fashioned a good recording with some very basic (by today's standards) tools. That said, while everyone has their own personal method for building a mix, starting with the kick and bass is arguably the most common.
We suggest that Tom reconsider what gets panned here. Leave the rhythm section in its traditional place (the center) and create space, dynamics and articulation by panning the other sound sources around them. As for the fade-in, barring a technical problem, please let us into the track with a bit more anticipation. Thanks!
Summary: Almost there, fellas!
Contact: Tom Verrastro, email@example.com