The first job was to clean up all the brick work and to put in a level 'false' floor (in a similar fashion to that described in an article in HSR March 84), constructed of three quarter inch rock board. The main studio area was incorporated into the brick-built garage, which was in a pretty poor state when work first started, although it had just been re-roofed. It was down from the attic and into the garage and outhouses. Quickly realising the futility of this method in attempting to achieve Hi-Fi results, he bought the excellent Akai 4000DS when money allowed, with it's Sound-On-Sound facility and a Sound City 12:1 PA Mixer (a virtually valve-driven beast), in order to get onto the next recording rung.Ī change of address though, was the real catalyst. This process was repeated two or three times over until the track was completed. The whole lot was thereby recorded onto a Grundig mono recorder which belonged to the lead guitarist. A basic track was recorded on the 'Elizabethan' and then played through an amplifier whilst adding the next overdub 'live'. Forming a band with two school friends, they used to rehearse in the attic at home (the exact reason why escapes him) and virtually from the word go he used to get out the old 'Elizabethan' mono tape recorder to record the sessions. Once upon a tune there was a bass player without a bass guitar who had to take the top two strings off an old Hofner President Jazz Guitar for his first 'bass'. This month we examine OHM studio a well equipped 8-track studio with it's own record label 'Confidential Records' in West Yorkshire, which has been used by several top bands, but things weren't always like that. Nev tries to remember what he plugged his flanger into.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |