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Hey there handsome!  Guess what time it is!  That’s right, it’s time for yet another installment of our Nashville Recording Studio’s never-ending series BEHIND THE GEAR!!!  What could we possibly have in store for you in today’s episode?  Why, it’s only one of the most used guitar amplifiers in rock n’ roll history; the Orange Rockverb 50 MKI guitar amplifier!  Nashville Recording Studio orange

What tone are you looking for for that awesome new track your working on?  Do you need a harmonically enriched, clean tone, or do you need some extreme crunch that would make Jimmy Page shed a tear of joy?  Well back in 1968, Cliff Cooper gave the world a gift when he founded Orange Amplifiers during the final leg of the swingin’ 60s.  What made these amplifiers an instant hit with guitar players around London was that Cooper developed his first amplifiers based around the needs and wants of actual guitar players.  Fleetwood Mac’s Peter Green and Free’s Paul Kossoff both plugged into the earliest Orange amplifier models and their opinions practically shaped the design of the amp’s circuit board.Peter Green & his Orange Amplifier  The unique tones combined with the instantly recognizable orange enclosures, and Peter Green’s onstage use skyrocketed these amplifiers popularity.  By 1969, musicians like Jimmy Page, Stevie Wonder, and James Brown converted.  Orange amplifiers then shaped the sound of the 1970’s and are clearly still one of the most popular amplifiers used today. 

So let’s dive a little into the specs of our Orange MKI, 50-watt amp head.  It is an all tube amp with two channel selection (clean and dirty).  As you can see from the photo above the Dirty Channel has a three-band EQ, while the Clean Channel only has bass and treble.  The reverb knob controls the amount of verb in both channels.  Each channel has its own volume control, but the Dirty Channel also has the classic Orange Gain control that can give you that famous crunch.  For a full view of the specs you can check out Orange’s owner’s manual here.Nashville Recording Studio guitars

Thanks for tuning in to Behind The Gear.  We hope you’ll check out the rest of our blog.  And hey!  Don’t be a stranger.  Follow and chat with us on Twitter @therecordshop!

Artifact is Jared Leto’s documentary that began as a behind the scenes look of his band, 30 Seconds To Mars, recording their third album “This Is War.”  As the project began, the focus of the movie took a dramatic twist when the band’s record label, EMI, filed a $30 million lawsuit for breach of contract against them.Artifact: 30 Seconds To Mars  A quick summary of the issue is that the band signed a recording contract with Immortal Records in the late 90s.  The details of this deal aren’t explained very well in Artifact.  However, this deal has been regarded by the band’s Manager, Irving Azoff, and their attorney, Pete Paterno, as the worst record deal ever.  In 1999, Virgin Records bought their contract when they purchased Immortal.  Over the next few years 30 Seconds to Mars released two albums, “30 Seconds To Mars” and “A Beautiful Lie”, embarked on world tours, and accumulated $3 million in debt to their label.  What triggered the actual lawsuit was that, before they started working on “This Is War” the band had tried to terminate their contract because they had not been paid a single royalty from EMI.Olivia de Havilland  They invoked a labor clause called the De Havilland Law, which states that, in California, no service contract is valid after seven years.  This termination was viewed as a breach of contract because the band had only delivered two of the five albums that their deal required.

This film also shines a light on the dwindling record industry, and the many failed attempts by labels and music industry outsiders to save their industry.  Everyone is aware of the dramatic change in the music industry, and the world, since the dawn of digital downloading and file sharing.  The record industry has taken the biggest hit because people don’t buy music anymore.  This led to many labels consolidating their staff, establishing 360 deals as the norm, and screwing artists out of a lot of money. 

Artifact PosterAs Artifact ended, EMI gave in to 30 Seconds To Mars’ demands.  The lawsuit was dropped and the band signed a new deal with EMI.  This comes as no surprise because most major label lawsuits against their artists end before they go to court.  Why?  Artists can’t take the financial loss from legal fees like a major label can.  It’s like any country trying to attack Russia during winter; they freeze or starve to death.  Another big factor for resigning was that the band couldn’t maintain its worldwide success without the backing of a label.  They actually may have been able to do it on their own, but that is a massive amount of time and effort (i.e. the Trent Reznor case study).

Overall, Artifact sets a negative connotation towards major recording labels.  Many of the people interview in the film say that they don’t know of any major label that doesn’t try to screw the artist; their whole economy is based around getting as much money from their artists as they can.  Now, with in the world of the 360 deal, they are even trying to take a cut from artist’s merchandising, publishing, and everything else the artist does that has nothing to do with the record label.  It must be said though that independent labels are also signing artists to 360 deals, and these major labels aren’t as evil as some would have you believe.  There are always going to be examples of questionable business tactics, but major labels have been a staple in the music industry for over a century.  They’ve helped the greatest artists of every generation spread their music all over the planet, and there is always going to be a need for big players.  Who knows what the world would sound like without the work these labels put in? 

So, “What’s the new model?  Why isn’t there one that’s better?”, asks Leto.  The truth is no one really knows yet.  The record industry has been slow to making changes and adapting to the new technology being made over the last two decades.  Singer Serj Tankien points out in Artifact that major labels never even thought about creating their own online distribution systems, which Apple did with iTunes.  Whatever the solution turns out to be, it is clear that it will only come to fruition if the major labels stop trying to fight the Internet and learn to live within the Digital World.

One amazing thing that has happened because of the Digital Age is the up rise of Independent artists & labels and the ability to perform many of the duties major labels used to perform from your laptop.  As an independent, multi-faceted recording studio, The Record Shop Nashville is proud to be apart of this amazing developmental period of the music industry.  We have been very fortunate to have worked with amazing artist from both the independent and major league worlds, and it has given us a firsthand look into each.  From what we have found, both worlds are inhabited by some truly incredible people that all share one thing: an irrefutable love and passion for music.  

 Thanks for hangin’ in there till the end!  Don’t forget to check out the rest of our Nashville Recording Studio’s blog, and be sure to follow us on Twitter @therecordshop for plenty of photos and updates from your friends here at The Record Shop!

 

Hey there music fans!  Did ya miss us?  Well don’t worry, The Record Shop Nashville is back to bring you another segment of our Nashville Recording Studio’s series BEHIND THE GEAR (and the crowd goes wild!!!).  Today’s BTG is about not one, but three of The Record Shop’s favorite pieces of gear; our beautiful Taylor Guitars.

 We are all aware that music and sounds are subjective.  Each person has their own personal tastes.  The man, the myth, the luthier legend Bob Taylor acknowledges that not every one is going to prefer the sound of a Taylor guitar over other guitars, but there is no denying that a Taylor guitar plays well; which, we all know was Bob’s ultimate goal.  Taylor Guitars: Bob TaylorHe is a personal hero to us at The Record Shop because of his dedication to the design and advancement of guitar manufacturing.  Typically when you think of a product going into mass production, the quality tends to get worse as costs are cut to make profit.  Bob understood that mass production meant that Taylor Guitars had an obligation to their new customers to make the quality of his guitars even better than when he was making them individually by hand.  So, as the legend goes, he and a team began designing his own factory machines to supplement the increase in demand.  Taylor Guitars developed things like their own steam presses whose heat is adjusted depending on wood type, assembly lines of saws and files to cut the neck and head stocks, and even lasers that can make cuts thinner than a stand of hair!

!!!! L-A-S-E-R-S !!!!

We would be remiss if we didn’t mention Bob’s humility.  Most companies try to keep their trade secrets hidden, but Bob has always been animate about sharing his process and knowledge.  You can watch his great factory tour videos at Taylor Guitar’s website here!Nashville Recording Studio  Taylor Guitars, along with many other guitar manufacturers, also have a strong passion for the preservation of the world’s forests so they can keep building guitars out of the best woods from around the world.  One last great thing about Taylor Guitars is their effort for obtaining ebony for their guitars by only ethical means.  Have we mentioned the lasers yet?!?!

For these many reasons, and simply because we love the sound, we have acquired our Taylor Guitar Triple Threat! Nestled in the halls of The Record Shop Nashville you will find our Taylor 914c, Baritone, & T5!  The 914c is a special edition, made out of cholla wood, and can achieve any genre-defining sound for your track.  Have you ever played a Baritone guitar before?  The tonal depth that this unique design creates is unparallelled.  Lastly, the T5 is electric-acoustic powerhouse of tonal versatility with two sets of humbucker pickups, a body sensor, 5-way pickup switch, and 2 preamp tone control pots.  Playing these Taylor guitars is one of the most addictive things in the world.  It’s a miracle we get any work done with these beauties batting their eyelashes at us all day. Nashville recording studio

Thanks for tuning in to this session of Behind The Gear!  Feel free to peruse our Nashville Recording Studio’s complete Gear List, and don’t be a stranger!  Follow & chat to us on Twitter @therecordshop.

 

We have a tasty treat for y’all in today’s installment of our Nashville Recording Studio‘s series Behind The Gear!!!  The Avalon Vacuum Tube 373 preamplifier, the world’s first Direct Recording Channel, is hands down one the greatest Microphone Pre-amps to have ever graced the walls of a recording studio.  Everyone who is anyone in the recording biz – like Abbey Road Studios, Prince’s Paisley Park, and Walt Disney Imagineering, just to name a few – have used this preamplifier to record hit after hit.  This preamplifier can make any voice or instrument sound absolutely unremarkable.  Here, at the Record Shop, the AD VT-737 has done just that time and time again.   Sound Engineer Rick Camp & his AD VT-737 preamplifier

Avalon has been known for making fantastic Microphone Pre-Amplifiers since its founding by Wynton R. Morro.  The company proudly boasts that each of its products, “…utilize 100% discrete, high-bias pure Class A audio amplifiers. These pure Class A amplifiers are incorporated into minimal signal path designs which include sealed silver relays, balanced DC coupled high-current “outside-world” drivers, fully discrete linear DC regulators, low noise toroidal power transformers and selected high quality active and passive components.”  In our Nashville recording studio, we love using this beast to get that classic, warm tube sound when tracking, especially on bass and vocals.  It has come to a consensus that female vocals are probably our favorite thing to run through with this preamplifier.  Personally, day dream about how heavenly the world would sound if every persons’ voice was put through the 737.A Front view of the Avalon VT 737 preamplifier

What’s so special about it already!?!?

Okay, okay, sheesh.  This baby packs a punch into your recordings using a combination tube preamplifiers, opto-compressor, sweep equalizer, output level and VU metering.  It has three, count them 1-2-3, different input selections; 1) a microphone input transformer with +48v phantom power, 2) an instrument DI input with jack on front panel, and 3) a balanced line input. The opto-compressor has amazing dynamic range.  You can obtain everything from soft compression to hard knee limiting with the threshold, ratio-compression, attack and release controls. The 4-band EQ control on this guy is bananas. You can also enhance mid bands with the X10 frequency multipliers.  The multipliers ever-so-sweetly enhance the high and low ends too!  One of our favorite features are the high-voltage circuits inside of the 737.  They reduce the amount of noise tremendously (-92dB) and leave you with ample headroom (up to +30dB).  Rear View Panel of Avalon VT 737 PreamplifierYou can go here to see ALL the specs & features of this incredible piece of machinery.

Thanks for checking out this segment of Behind The Gear!  If you’re interested in learning more about the rest of the gear at The Record Shop click here to view out complete gear list!  Don’t be a stranger; you can follow and chat with us on Twitter @therecordshop!

Here at The Record Shop we aim to make musical greatness with each project that gets brought to our Nashville Recording Studio.  What better way to make history than to use a guitar amplifier that has been used, almost exclusively, with guitar legends like Slash, Joe Bonnamassa, & John Frusciante?  Let’s take a look at our Marshall Silver Jubilee 25/50 2553 head; proof that not all that glitters is gold…sometimes it’s silver.

Slash and his Silver Jubilees

 

The Marshall Silver Jubilee series was introduced in 1987, to commemorate both their 25th year in the amplifier game and their 50th year in the music industry.  These limited edition, valve amplifiers were heavily based on the Marshall 2203 & 2204 master volume models and the Marshall JCM 800s but were designed with their own unique features.  Besides the illustrious silver vinyl and chrome-plated controls, these babies have a valve output stage that you can be set to either 25 or 50 watts (you see what they did there?!) to get real output-valve distortion at lower volumes, a great effects loop, and they have a preamp circuit that houses three gain modes. The Record Shop's Marshall SJ 2553 The Input Gain pot varies the amount of gain in each mode; if you set this low you get a clean tone, you may find that it is too low when you switch to a lead tone.  No prob Bob, pull on that knob and you’ve switched into the second gain mode called the Rhythm Clip, which gives you a distorted sound.  Mode 3, the Lead Channel, can be switched to via footswitch or by pulling the Output Master knob.  Marshall placed a Lead Master control knob as well to balance the volume of the Clean, or Rhythm Clip, with the Lead volume.  Let us not forget that these amps are also Tonal Beasts that changed the sound of Rock N’ Roll forever!

The Record Shop's Marshall SJ 2553 Amplifier

 

 

 

 

 

When the Jubilee Year ended, Marshall continued to produce more of the JS series in 1988, but replaced the silver and chrome with the standard black and gold look Marshall is famous for.  So, if you want your guitar tracks to sound like they came to Earth from the Rock Gods in Valhalla…you know where to find us.   Thanks for tuning in for this edition of Behind The Gear.  Feel free to check out the rest of our blog and follow/chat with us on Twitter @therecordshop!

The Record Shop Nashville is honored to be mentioned in the latest issue of Mix Magazine, which features many our recent studio sessions!  Read what they had to say here!Blurb about The Record Shop in Mix Magazine.

 

 

 The Record Shop is proud to announce that Rick Monroe is hitting the road this year as part of Jagermeister’s 2014 Ultimate Summer of Music Tour with the Eli Young Band AND is releasing his new EP, “It’s A Love Thing” that was recorded at The Record Shop Nashville recording studio!

 “It’s A Love Thing,” is a product of love and labor for Monroe, “a tireless worker, strong songwriter, and relentless performer”.  This new MRG release will be made available to the public Jun 3, 2014, and though this EP has six incredible tracks, three of the songs have had particularly more emphasis put on them.  These three songs – “Small Town”, “Fire’s Out”, and “ Great Minds Drink Alike” – were produced by The Record Shops’ own Sean Giovanni who said about the project, “We had a blast working on Rick’s record. He does a an incredible job of straddling the line between traditional country, pop country, and southern rock, in way that is sure to please fans young and old.” 

 What does the man himself have to say about these three great songs?  “In the case of Small Town (5/20 release date on iTunes) Kenneth Duncan and I were stuck on the song we were writing and he just happen to play the first part of “Small Town” for an ear break… and that was it! We shifted gears immediately and boom. The one thing I’ve seen in all my travels is people are people, with the same basic wants and needs. We all love and we all struggle. I really feel we struck the perfect balance. With a basic chord progression & direct lyric I believe we’ve captured the large & small view of the world in simple song.” Rick continues, “Fires Out (5/27 release date on iTunes) was inspired by trying to mix a different flavor into country. Recently there’s a lot of country rap going on and I wanted to see if we could take from the groove/pop side of things ala Maroon 5/Bruno Mars. I know it’s pretty different, but I think it’s like a good gumbo you need to add a little kick of spice sometimes and not be afraid to try something new.”