We know what you're probably thinking. "Wow, these records sound amazing; I wonder what they use for getting that amazing new sound. They must really have some high tech gear at this place". And for that, you my friend would be absolutely correct. We get at least one, possibly two emails every year asking about rates and questions on how to get that "Eleventh Hour Tone". Well wonder no more friends. We're going to break it down for you as to just how the magic happens.
Everyone knows you need a great board to really get those audio dust bunnies out of your recording and into peoples ears, (George Martin in an interview with Rolling Stone, 1974). What we have for our setup is just that; a priceless Allen & Heath board from 1981 that members of New Edition purportedly spilled soda pop onto and fried some of the channels. Now, a board like this only comes along once in a lifetime, and thankfully we were able to barter this thing off of the front porch that it sat on for well over a year and bring it into our studio. We're fairly certain the front porch was enclosed, making this even more of a steal. Sometimes the neighbors bang on our windows trying to get at this sweet puppy, but we don't stop a' rockin' no siree Bob. Also, you see those fancy studio monitors up in the corner? When we went to pick them up the guy left them on his front porch and said to put the money in the mailbox. Brothers and sisters I'm telling you if you want that front porch sound without that front porch price you need not look any further.
Lots of studios have pianos, but not all of them have pianos that were found in a dark warehouse on E. 79th street and bought from their ex-girlfriends at a reasonable price. And what about that Hammond organ? The one and only Hammond D that was manufactured 15 years before the B3, and three years before the United States entered WWII. This thing is older than your grandparents, and boy does it sound like it! Since the Leslie that is attached to this Hammond is only one speed due to it's age, we took off the belt that spins the upper horn, taped on a microphone from an apartment call system, and ran it into a 1980s Leslie that is for some reason controlled by a foot switch for that double speed, double fantastic sound. The air freshener that's sitting on the bench ensures that all the sounds you make with these keys are certified super fresh.
No recording session is complete without hangers-on. But the problem is, where are they all going to sit? Well worry no more; your crew of followers can get baked on downtown brown sitting on this couch that's in the unfinished part of our basement. That's right, now your hype man, or woman, or golden retriever, or whatever, can be outside of the studio slurring their words and spilling crappy beer all over our floor instead of being up in your face while you record vocal tracks. You could probably sleep on it too, we guess. The possibilities are endless.
Here's our pedal steel and toy piano we found in the garbage. You can play it if you want. Miller Lite bucket full of beer caps and an Eagles record not included. That costs extra.
So there you have it friends. There's probably some other items we use, but these four things are really at the top of what most professionals call the 'Studio Spectrum' (George Martin in interview with Rolling Stone, 1974). It's taken years of combing junk stores and flea markets but we're finally reaching the pinnacle of studio perfection. If you still want to record here for some reason we guess you can send us an email or something. It's your call. That Eagles seven inch in a bucket full of beer caps isn't going to shake itself, you know.