Sweetwater Creation Station 450 PC with two PreSonus Firepod audio interfaces, running Adobe Audition 3.0. Microphones: drums - Shure PG52 (kick), five Shure SM57 (snare and toms), two MXL 603S (overheads); bass - Shure PG52 (close miked B-15); acoustic guitar - two RODE NT-1; electric guitar - Shure SM57. Instruments and amps: Fender American Standard Stratocaster through VOX Cambridge Reverb Amp, Guild acoustic guitar, 1968 Fender Telecaster Bass through 1967 Ampeg B-15 amp, Korg SP-250 Electric Piano and Fender Rhodes MK II Stage Piano (both DI), Roland RS-70 synth (also DI), Pacific LX Series Drumset with Ludwig Supraphonic Snare, Paiste 3000 22" ride cymbal, Zildjian 16" medium crash cymbal, Zildjian 18" A Custom Crash cymbal, Zildjian 13" K Hi Hat cymbals, LP congas and tambourine.
Production Notes & Credits:
"Hurricane" is a male vocal rock/blues song with a Latin feel. Larry Dillard wrote the tune, sang and played the guitars. Matt Linsin provided the drums and percussion. Shadi Frick played the keyboards and bass, and also arranged and recorded the track at Low Key Studios in Carbondale, IL.
Reviewed By: Marty Peters
Recording: This month's Spotlight is a slinky groove piece full of outstanding sounds from, wait for it, real players playing non-virtual instruments. Schweet! While we applaud and encourage all of you one man/woman recordists out there, it is refreshing to hear it "old school" from time to time -- check out Dave Grohl's outstanding "Sound City" documentary for confirmation! Larry and the gang have given us some mighty fine "tone-age" with their submission, so let's put our ears to the tracks and examine what's on offer, shall we?
The first thing that impresses is the rhythm section, complete with the best bass tone that we have heard in ages. '68 Telecaster Bass through a miked-up Ampeg B-15 amp... Get outa town! This is THE sound, friends, and it's gonna take one hell of a plug-in to convince me otherwise.
As for the drums, we love the organic snap to the snare and the side stick is equally impressive. We should also mention the relationship between the bass and kick drum. Too often this is where frequency masking occurs in mixes, particularly when the bass is this robust. Wisely the guys tucked the kick drum slightly behind the bass here, avoiding that confrontation.
Moving on, we also dug all of the keyboard sounds presented here, with special honors going to that ELP synth sound (love the 10-second lick between 2:34 and 2:44!). Adding to the goodness, we found the lead vocal to be nicely tracked, minus any artifact, while the percussion was treated with skill in its support role. Good stuff!
Suggestions: Not everyone has the time, resources, or available musicians to create music in this fashion. That said, great tone is great tone, and this is a fine piece to emulate in that regard, irrespective of one's modus operandi.
Summary: Tones for days!
Contact: Shadi Frick / Larry Dillard Blues Therapy, firstname.lastname@example.org