|That's Studio B's window viewed from A's liveroom|
|Andre Rice and James Goforth|
|Taking a late night break with Chandler Harrod in Studio C|
Here at Barefoot, things are quieting down as Slash and the band have left and cartage took away all their gear. I'm going to miss those guys, it was serious fun to spend time with them everyday and watch and listen to the record come together. They are serious, hardworking musicians and the record is going to make a lot of fans very happy. The rehearsals and the recording process were filmed and short episodes will be released online each week until the album comes out (May 22nd). He released the cover art for the record http://slashonline.com/ and had mentioned that he wanted a pin up girl in there somewhere. I am a pin up fanatic, so I brought in some of my books of pin up art for inspiration. Of course, the Bettie Page life size cut out was in the live room with the band the whole time and is in a lot of the documentary footage as well as in the Mativision shoot that happened here last week.
While Dre and I were at Capitol, Roger and Ken Miller were at Dolby, working on an install with Audrey Wiechman. We still had to keep on top of Greg Wells' console at the time and it was a little hard to try to balance my schedule, but now I'm focusing on it and Roger and Dre have been here with me. I have been putting components into PC boards, Dre has been building the power supplies, Roger is building the frame and Ken Miller, although safely away at home in Mammoth, is doing the woodwork.
Larry had finished all the circuit design work on the rackmount EQ/mic pre units, but he was side tracked for several weeks doing custom designs for Wells' console. I'll get into the specifics of that in another post, but long story short... Larry is back on the rackmount units to wrap up the circuit layouts. They will come out soon, I promise. If you look back at older posts, you can add up the amount of times I said that we were getting close... now we have a bunch of parts here. But these have to be right.
I got side tracked for a day... Eric came into the shop at about ten at night on Tuesday and said that in order to do these mixes, we were going to have to figure out a way to be able to send and return to any of his effects (an EMT plate, the chamber, spring reverb, tape echos and a bunch of digital stuff) without taking up so much of the console. The solution was to get another patchbay in there that is fully normalled, tie all the ins and outs of the time based stuff to the ins and outs of a dedicated 16 channel converter. Now all the reverbs can be mixed in the box and brought back to the console on a pair of channels instead of 24 of them and so many of the delays are digital anyways. It is a permanent solution.
David Bock has a new blog about microphones http://macromicrophone.blogspot.com/2012/02/grohl-works-mic.html, so be sure to check that out. I mentioned before that Eric owns the only two Bock Audio Ellfet 7 mics, the original prototype and a second one that David got together for him right before the bulk of recording on Slash's record started. These are fet mics that put fet47s to shame. Eric was so impressed with the prototype, he had to have it and both of them were used extensively on the sessions.
|Bock Audio Ellfet 7s in stereo|
Roger turned 45 on Wednesday, so we had cake here, then Saturday is Cian's birthday and his whole family is coming over for one serious Irish party.
Rock & Roll,