Artist Name: Scott Reynolds Title: Says Who 2 Genre: Instrumental/Rock
DAW – Pro Tools Studio (with standard plugins); Interface – TASCAM Model 12; Computer – Ancient iMac; Microphone – Neumann U 87; Guitars – Taylor acoustic, PRS Custom SE 24 electric, Epiphone SG with P-90s (for slide—recorded through a Line 6 Pro HD) and Carvin bass guitar; Keyboard – Korg O1/W (used as keyboard controller for all synths and percussion); Drums – Superior Drummer 2.0; Monitors – Focal Trio6 Be, IK Multimedia iLoud desktop monitors and Auratone Super Sound Cubes; Headphones – Shure SRH840.
“Says Who 2” is an instrumental southern rock ballad track written and recorded by Scott Reynolds. Scott, a self-described “70-year-old geezer who just loves to write, play and record,” played all the instruments except the drums, which he programmed with Superior Drummer 2.0. There are some lovely scene changes as the song progresses, as the different parts of the song appear.
Review By Dave Martin
When recording an instrumental Southern rock ballad, it’s painfully easy to fall into the trap of soloing over blues changes for 3 or 4 minutes. While that can be great fun for the soloist, it’s generally not as interesting as having actual structure for the composition. Scott Reynolds has done a lovely job of creating interesting sections and using them to create a pleasing recording in his song, “Says Who 2.”
Scott’s arrangement uses different chord patterns to give the feel of verses, choruses, a bridge and even a quiet, piano-based vamp at the song’s end. To help provide these individual sections their own vibe, he switches between lead guitar (played, I think, on a PRS Custom SE 24 electric), alternating with an Epiphone SG with P90 pickups for the slide guitar. The PRS and the Epiphone have pretty different tones, and the juxtaposition of the two instruments works very well. There’s also a Taylor acoustic guitar mixed pretty far back in the track, which adds a nice sheen and foundation without calling attention to itself.
The programmed drum track is very well done. The programming is sensitive and musical, and it sounds like an excellent actual drummer performed it—not an easy task with this kind of groove. I also like Scott’s bass sound (played on a Carvin bass); it has a bit more grit than I would usually go for, but it certainly works in this track—remember, I am a bass player, so I notice these things.
The keyboards used on this track are primarily organ and piano, though a melody that occurs a couple of times may either be a synth, a chorus/fast vibrato guitar, or possibly another organ sound—having listened to the track on a number of different speakers, I’m still not sure. In context, the melody matters more than the sound, so I’ll assume that however it was created, it was the sound that Scott wanted.
Scott tells us that this track was mixed on a new pair of speakers. Scott says that he has worked with KRK V8 monitors for decades and had just replaced them with a pair of Focal Trio6 Be monitors (augmented with iLoud desktop monitors and Auratone cubes). The short story is that I think the new speakers work for you, Scott—the mix is lovely.
A couple of sounds seem to be a bit more contemporary than those used on classic southern rock records, but that’s not a complaint—it’s more about the fact that we have more (and better) tools than those groups did back in the day. And I don’t get the feeling that Scott was trying to duplicate the old records—though the lead guitar sounds make me want to see if I can get a guitar to sound that good with a Line 6 Pro HD. Actually, I doubt it. I think those sounds came from the hands of the guy holding the guitar, not the gear that was used.