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Category ArchiveRecording Tips

Getting a Great Drum Sound

As someone who has been playing drums since a teenager and been an engineer for nearly 15 years one of the most important things for me in a song is getting a great drum sound. Before anything has been mic’d up or you’ve even got into a studio there are 3 important factors that can contribute to getting that all important great drum sound. These are ensuring the recording is being used on a professional maple or birch kit depending on the sound you are going for and not making do with a sub standard drum kit. The kit should have new heads and should be tuned to the key of the song as each drum holds a note. It should be tuned in the room it is being recorded in so the kit heats or cools to the room temperature. These points can make such a difference to a recording and to a detailed ea,r can be the difference between an average demo and a professional recording.

The second factor is to use good quality mics and pre amps as you will only get good clarity and detail in depth on a recording with good mics. If you don’t have a good source signal it will be incredibly hard to get a good final sound. The other factor is to ensure the player behind the kit is of a good standard for the music you are recording and has the ability to be tight with the band and know when to and when not to overplay. Being able to use dynamics within their playing can make a difference on a recording and paying attention to detail is always important when playing drums on a recording. The most important thing though is to be as tight as possible with the rest of the rhythm section.

The Bass Drum

One of the most important decisions when recording drums is to decide what mic or mics you want to use and getting the right positioning for them. The most commonly used bass drum mics are dynamic mic with the AKG D112, Shure Beta 52a, Audix D6 and the Electrovoice RE20 being popular choices. I personally would favour a Senheisser 421 on the beater and a good Neumann outside the bass drum to pick up the sub frequencies to blend with the clicky signal.

The close mic on the bass drum will have spill from the other drums and cymbals in particular the snare and tom toms. The best way to get around this is to use a gate. The attack should be set quite fast like with most other drums, in order to get a punchy sound. The release should be set to close fully once the sound has finished so you don’t hear the spill but watch you don’t set the release to quick and lose some of the source sound. Most drawmer gates can do a job on a kick drum.

The next thing is to set up a compressor on the bass drum. If you set an attack time which is a little slower (10 to 20mS), it will allow the click of the drum hit to pass through the compressor it is being compressed. To help get that clicky sound on the kick, use a ratio of around 3:1 and have the threshold set around an average of -4dB of gain reduction to each beat beat, the release should return to normal before each beat. A good kick drum compressor I find the TLA Audios Valve 5051 is a good kick drum compressor. You just need to make sure you drive the input to get a punchy sound.

If the kick doesn’t have enough presence then try equalizing around 4 and 7kHz on a mid Q just adding a little gain where you feel appropriate around these frequencies. This should give the kick more definition and make it cut through the mix. Most good Equalizing units should work but a personal requisite of mine is to use a valve EQ for added warmth. A good EQ for this although not valve and used more for mastering is Massenburgs GML 8200, this unit has several bands of fully parametric EQ for ultimate control.

The SPL Transient Designer allows you to change drum sound envelopes, meaning it possible to add or subtract attack and sustain. Once this has been done listen to the kick drum with the overhead mics and see how they sound together. With the overheads added the Bass drum should sound more natural and slightly ambient. Adjust the compression and EQ again if it needs it, but bear in mind that once the rest of the mix is added that the sound will might need minor adjustments again.

Snare Drum

The best way to record a snare drum I find is to use 2 mics, one above and one below the snare drum with the above mics phase reversed. Shure SM 57s tend to be a popular choice while I sometimes find 2 AKG C451s can do a good job.

Snare mics tend to pick up a lot of unwanted low spill from the kick drum and toms, and may pick up the hi-hats to. For this again gating is necessary preferably a frequency based gate with some bass end and treble rolled off where the problem occurs the side-chain input could be useful if found necessary. If the snare needs more definition I tend to find adding around 1.8khz on a fairly tight Q is where the crack of the snare is and can make it cut through the mix really well. If you need any extra crispness, then try a little high EQ at between 4 and 7kHz. To give a bit more body to the snare, sometimes a little gain between 110 to 160Hz can work well but watch you don’t add to much as too much in this frequency range can muddy your mix.

Compression on the snare is also recommended to get a tight punch sound. Try not to over compress and be sure not to have the gain reduction go over -3 or 4 dbs. Most drawmer mics can do a good job on the snare although I quite like using an Urei 1176.

Toms Toms

The most common Tom mics are the dynamic Sennheiser MD421 which tends to be clipped onto the toms. As toms are normally hit during fill-ins and rarely anywhere else, then a gate is needed when they are not in use. Take off some low end from the gate’s side-chain input will eradicate false triggering from kick-drum spill. If you struggle with getting a suitable gate a good alternative is lose the spill after the recording in your sequencer or tape machine.

I tend to give the Toms some definition give the small tom some boost around 6k the mid tom 5k and the floor tom some 4k. Obviously this is hugely subjective and depends on the sizes of the toms you are working on. Adding between 100Hz and 200Hz I tend to find good frequencies to work with for picking out the resonance of each tom. A fairly small reverb can be a good idea also to have the toms sit in their own space in the mix and also give a bit more of a live sound that the processing might have lost.

Again compression can be a good idea when recording the toms. Be sure to listen to the Toms with the overheads and not just isolated as the overheads play a large part in the final sound of the drums.


The AKG C451 is a popular hi-hat mic which works really well pointed away from the kit. No gating is needed for the hats. Rolling off all the low frequencies is advised to lose the spill of the bass, snare and toms.

Overhead Mics

AKG 414s tend to be very popular overhead mics for a majority of people although I sometimes find them a little clinical. A personal favorite of mine are Coles 4038 or 4040 Ribbon Mics. They seem to get a great smokey sound that oozes expense to me. As Overheads pick up the cymbals and hats getting good definition on these mics is really important. For indie and jazz, using a lot of the overhead mix can be imperative. For rock and pop, I tend to use more of the individual mics and add a little over-heads subtly. I tend to find the overheads need no compression and should never be gated so an open sound is achieved.

A little equalizing is sometimes necessary on the low end where the kick overspill may be a little much and there may be some phasing issues on the low end having used several mics in a relatively close space. Rolling a little low end here can help with both these potential issues. If the drums were recorded in a fairly small room sometimes a reverb can be added. I tend to find a Yamaha SPX 900 or the more expensive Lexicon PCM 80 can do a really good job here.

Post by: Matt Walters
Matt Walters is an experienced drum player and has 15 years experience as a sound engineer. He currently runs his own recording studio.

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Planning Your Recording Session

Decide what the purpose of your studio session is, and ensure all band members are in agreement. Are you doing this recording for personal pleasure, or maybe you want a CD to get gigs or possibly you want a demo to try and get a record deal? Knowing what your aims are will help you make the right decisions during the session.

How Many Songs Should I Record?
Please try and decide this before the session starts as this can kill studio time. If you’re unsure how many songs to record, get in touch and we’ll talk you through it. We’ve worked on thousands of sessions, so we have a good idea of what is achievable.

Quality or Quantity?
I feel quality is always better than quantity. Most venues, management companies, publishing and record companies will probably only listen the 1st minute of each song and won’t get past the 4th song, judging you on the songwriting, production, level of musicianship and the quality of the recording.

Turn up on time with all your equipment checked and ready. We’ll be there on time getting set up so the clock will be ticking. Bring everything with you that you’re likely to need. Spare strings, plectrums, batteries, leads, etc. You can guarantee that the item you forget will be the one thing you need. Test all your gear the day before. Instrumentation, Scores and Lyric sheets – Please try and have all scores, lyric sheets written and brought to all sessions where needed. Think about different vocal parts like backing vocals and harmony parts before sessions. Also think about any string arrangements or percussion that might be needed.

Rehearse your songs thoroughly and make sure all band members know all their part(s) to each song.

Less is More
Your recording is not the time to try out your chops and blistering solos. A simple part played well tends to be more effective on recording rather than someone’s flashy self-indulgent routines. Remember the song is the most important thing, not your playing.

Click Track
I highly recommend that you play to a click track as this not only keeps the tempo even through the song, but makes over-dubbing process more straight forward. It also makes any track editing easier and more accurate. We cannot, for the sake of example, take a bass phrase recorded during the first verse and copy it to the last 2nd verse if the song speeds up, So playing to a click gives you more flexibility at the production stage and enables things to be achieved faster.

How long does Recording last?
This is a bit like asking how long is a piece of string of string. If you are organized, well rehearsed and tight the recording procedure will obviously prove a lot quicker. Also if you are working with session musicians this will usually save time as they are used to working in a studio environment daily and will tend to race through their parts. Either way preparation is the key and around 70% of your session should be spent on the recording phase.

Once all the recording is done, the next stage is the mixing. Mixing is where we apply EQ (equalization) and dynamic effects (e.g. compressors, expanders, noise gates) to each track, and set the correct track volume relative to all the other tracks. I also decide where each track should be panned in the stereo mix for the arrangement to gel and to highlight certain aspects of the arrangement.

How Long Does Mixing Last?
Similar to recording this can vary. It depends. On how much track editing there is, whether you want to alter the sound of any tracks using other effects, whether you have a clear idea of how the finished track should sound. Simply put, the more time you can devote to mixing, the more likely you are to come out with something that you are really pleased with. As a very rough guide, i would suggest planning to spend 20% of your session time on mixing. This is estimation and can be less or more.

When Do We Mix?
I recommend that you don’t mix straight after finishing recording because you will be tired. Leaving at least a week between the recording and the final mixing session will enable you to come back with fresh ears and fresh ideas about the songs you recorded.

This is the process where we prepare and transfer your recording to a format that can be duplicated on CD. During mastering, the final stereo mix will be processed to even out the highs and lows, boost the overall volume, and make it sound more consistent across different formats and playback systems. I myself use a combination of PC based audio editing and mastering applications to achieve this. And yes the mastering and CD burning stage will probably take at least an hour. So this is another thing to factor in when considering how long you need.

Lastly, despite everything I have said, I always say to my clients who come into my London recording studio, to come prepared to have fun and enjoy the whole studio experience.

Post by: Matt Walters
Matt Walters is a professional sound engineer/producer and runs his own recording studio in London.

Recording Studio 101: The Electric Guitar

This month we tackle recording electric guitar. I’ve been fortunate enough to record guitars in many different studios with many different engineers. Each engineer or producer has a certain way they like to mic an amplifier (or speaker cabinet). Let’s discuss some of the most common ways.

Going direct

It use to be that going direct was normally reserved for getting super clean guitar tones. I’ve read where Billy Gibbons recorded a lot of his great guitar tones going straight to the board. Additionally I heard that Jimmy Page recorded “Black Dog” straight to the board (albeit with tons of compressors). Now does that mean you can get “that sound” just by plugging in your guitar to your recording machine? Probably not – keep in mind that the pre-amps and EQ’s on the multi-million dollar mixing boards’ sound pristine. Additionally, they have very expensive compressors that they run the signal through to fatten it up – but don’t let me discourage you – plug in that guitar and see what happens!

Fortunately they have some great products at a reasonable cost to help you out when running direct today. Companies such as BOSS, Line 6, Korg and Zoom are just some of the companies that make some decent direct boxes. I personally have an older Line 6 POD that I’ve used for years. Depending on how you set the sound I’ve found that sometimes you can get pretty convincing tones out of these boxes and with out having to go to the trouble of setting up amps and mics. It’s been my experience that if I’m using the POD with a clean or semi dirty guitar tone I can get a decent tone. If you’re looking for a guitar tone that is heavy distorted I find that the POD tends to not sound as real.

Mix it up

One thing you can do is mix “real” amp sounds with the direct sounds. Keep your “real” amp sounds as the “up front” guitar sound in the mix and on a different track use the direct sound as a background mix sound.

An additional cool thing is when recording a distorted guitar you can split the signal from the guitar so that one line goes to the amp and one goes straight to the board. Now you have a distorted signal and a clean signal. You can blend both together as is or you can affect the clean tone with different effects and experiment while keeping your original performance. I’ve heard of a lot producers doing this and getting good results.

Setting up mics on a cabinet

Getting a good sound when setting up a mic and an amp can be easiest thing in the world or the hardest. At any rate it should be not glossed over and time should be taking to make sure you have the best sound going. I’ve used all different types of mics including Neumann, AKG and Sennheiser. However for a good and relatively cheap mic you can’t be the Shure SM57. It’s the standard workhorse and I’ve had great results with it. Take time to experiment with placing the mic in front of the amp straight on and also at a slight angel (perpendicular to the angle of the cone). Also try different distances as all these factors affect the sound sometimes for the good and sometimes for the not so good.

Additional tips:

  • If you’re recording a 4×12 cabinet then you can experiment with different mics on different speakers. Record all (at the same time) and compare the sounds.
  • Try using a condenser mic about three feet away from the speaker for a cool sound to mix in with the close mic.
  • Also you can mic the back of the speaker cabinet however you might have phase problems so be sure to hit the phase reversal switch on your pre-amp or mixing board
  • Remember that when using a dynamic mic (such as a Shure SM57) the closer you put the mic the more bass response you will get. Conversely when the mic is farther away you will get more treble less bass.
  • Distance=depth is the old Jimmy Page adage. Place a condenser mic at the other end of the room and blend that signal with the up close mic. You can get some natural reverb effects and the overall sound should sound bigger.
  • Notice in the picture I have the amp on the Auralex GRAMMA (Gig and Recording, Amp and Monitor, Modulation Attenuator). It’s a device that’s used to float an amp or loudspeaker that yields nearly total acoustic isolation, resulting in a purity of tone. I believe it helps out when recording.

Recording Studio 101: Preparing the Vocals

Last month we took a look at the do’s and don’ts of preparing your band for the recording studio. But before we press the record button let’s talk about preparing the vocals.

Recording vocals for me personally is always hit or miss. Some days you sing great and some days you feeling like a first day reject for American Idol. You want to try to be consistent and prepared so I’ve got my own routine for practicing my vocals so that when the day comes I’ll be ready to go!

#1 Assuming that you will be tracking all the basic tracks in one day and cutting the vocals at some other time, have the recording engineer make you a copy of the song without the scratch vocal. This is sort of like a karaoke version of your song. Now in Los Angeles we do a lot of driving so this is a perfect opportunity for me to get some practice in! I simply play the CD over and over again while I’m driving and practice singing over the track. You’d be surprised how many times you can sing a four minute song in the space of a daily drive! Now incase you don’t drive or don’t spend a lot of time in the car do the same routine but around the house. The point is you want to get comfortable singing to the track so when the day comes you are somewhat prepared. Additionally, I make notes of any good ideas of a particular way of singing the tracks as to remember. Heck, if it’s a great idea and I really don’t want to forget it I’ll sing it into the voice memo feature of my cell phone! (Furthermore, I do this routine while listening to mixes as well but more on that later!)

#2 Now, while you at it, try to memorize the lyrics! Okay – I know this might sound crazy but I’ve had more then one singer try to record their vocal track while reading the lyric sheet. I don’t recommend this – not only is it distracting but it takes away from the performance. If anything you should have the lyric sheet there as a guide and nothing else.

#3 Partying the night before is probably not advisable. You want your voice to be in the best shape it can be in – remember that the vocals are probably the most important part of making a good recording. Folks can sometimes overlook deficient guitars, bass and/or drums but it’s been my experience that if the vocal is sub par then folks will regard it as “demo” quality. Okay – so I know what you’re going to say next, “I know this guy who could gargle razor blades, drink whiskey all night and sing great the next day”. I know those guys too and like most anomalies they are very few and far between. Not only do you want to take care of your voice but you don’t want you nose to be stuffy. I know myself that when I have a beer the night before it tends to swell the passages in my nose which in turn makes it almost impossible to sing without the nasally sound.

Pushing the red button!

Different producers have different ways of recording vocals. There is no right or wrong way and sometimes you can use a combination of the two. My preferred way is to have the singer warm up by signing through the song a few times. This gives me the opportunity to dial in the pre-amp, compressor and overall mix. Then we start tracking “for keeps” and stack up four or five complete performances. I’ll pay attention to certain areas to make sure that I have the whole song covered. If all goes well then I’ll “comp” a complete track out of the five. Comping a track means basically going line through line picking out the best parts then copy and paste them to a new vocal track. This technique usually yields good results because the performance sounds natural.

The other method would be to be to sing the song all the way through. Then listen to the track and “punch” in and redo a word or phrase. The only problem I have with this technique is sometimes the punched vocal doesn’t match the original performance. Additionally I think that sometimes it can wear your voice out faster singing lines over and over again.

Auto Tune!

Okay so there’s an effect called Auto tune which can “tune” vocals as well as other instruments. I’m sure everyone’s heard some recording with auto tune applied. I look at auto tune like using a fire extinguisher – it should be only used in emergencies! I’m not saying that it’s bad to use but if you can nail the vocal without the auto tune then strive for the best vocal you can! Let’s face it you there to sing and perhaps do this for a living – if that recording doesn’t represent what you can perform live – then it might come back to haunt you!

Which mic to use?

What about if you’re recording at your home studio and you want to track vocals – what type of microphone should you use? Well microphones are like guitars in the sense that sometimes a less expensive mic can do the job. It’s not always true that an expensive mic will mix and sound well with your voice. I’ve recorded a bunch with the Shure SM7 and I’ve been pleased with the results. However there is a good selection of good mid level priced condenser mic’s that didn’t exist 5 years ago. Read as much as you can and ask what other producers/songwriters are using. Some mic manufactures offer a trial bases where you can try it and exchange it if you don’t like it. You might try renting a mic for the day or over the weekend. That way you can see what works and you can also rent mic’s that would be out of your price range to purchase.

Recording Studio 101: Preparing to Record

So you’re finally ready to record your songs in a “real” studio. What kind of preparations do you need to make? Let’s start off with basic guidelines that get us up to the point of pushing the red record button!

Recording Studio: Command Center

Recording Studio: Command Center

For the singer songwriter there are a few items to check. When I’m producing a solo artist who plans on adding the rest of the instruments later, I set up a vocal mic and plug the guitar straight into the board. This is called the “scratch track”. It will be erased down the way so the quality isn’t overly important. What is important is that the artist can follow the “Click track”. This is the all important conductor which everyone will follow so it is imperative that you can play in time.

  1. Practice your tune to a metronome and note the setting. Remember that in the studio (even if it’s a inexpensive one) time is money and the less time you spend on cutting the basic tracks give you more time for more important things down the road.
  2. Put new strings on your guitar! Okay I know this is a no brainer but you would be surprise how many people are clueless and while were at it how about changing the battery in your pre-amp with a fresh one?
  3. Have a firm idea of how the arrangement should go. With today’s software certain things can be changed down the road and sections can be moved fairly easy but once again you?re spending time doing this and it might eat up your budget.
Recording Studio: The Amp Room

Recording Studio: The Amp Room

For the band many of the same rules apply:

  1. Make sure the band is well rehearsed or has a firm idea of the song.
  2. The band will more then likely have to where headphones while recording – to some people this can be a different experience especially if you’ve been use to playing live. Also you might have to record in different rooms and you might not be able to have eye contact. Make sure your endings don’t require everyone having to look at each other. Once again this is a comfort thing and depending on the size of the studio you may have to deal with it.
  3. Make sure all musical equipment (amps, cords, pedals, guitars, strings, drum heads) are in proper working before the session begins. I recently did a session were the bass player didn’t even know his bass was active and didn’t know he had to replace the battery! I was like, “Didn’t you wonder why your bass sounded like a transistor radio?
  4. Make sure your drummer has no problem playing along with a “click” track. (Sometimes it’s not necessary to use a click track but in most cases it’s necessary.)

Finally, keep distractions to a minimum.

  1. Shut off your cell phone
  2. Don’t bring any unnecessary people to the studio.
  3. Don’t bring in drinks/food that can spill on the floor and equipment of the control room or studio.
  4. Keep the band chit-chat down while in the control room. It’s hard enough to concentrate without hearing about your exploits from the evening before!

The studio owner is not there to baby sit. He doesn’t care that your Mom and girlfriend thinks you’re the next biggest rock star. He’s running a business! If you act professional you will get more work done. Moreover, the smoother the session goes, the more out the studio owner might be to letting you do extra tracking off the clock.

Additionally, you might want to ask if you can help set up/tear down the session – this can be a great learning experience and it will help you get familiar with recording equipment and recording techniques. Plus it might get you some free extra recording time!

A Baker’s Dozen Tips: Recording Guitars & Basses (Part 1)

I have been recording since 1980, mostly in home studios. And just for the record I will give you an idea of what was in my first few home studios, it was no digital 8 track the size of a paperback novel.

My first home recording set up was an Akai ¼ inch 2 track and a Harmon Kardon cassette deck, no EQ, the only effects I had were a few effects pedals. I would program one of my primitive drum machines or use a factory preset non-programmable rhythm machine while I was recording that I would usually add my bass or rhythm guitar. And after a suitable take I would ping pong the tracks back and forth from the 2 track to the cassette, adding effects on the fly.

My next home recording rig was a Teac 3340 4 track with a Biamp 6 channel board with internal spring reverb and a stereo 10 band graphic equalizer. Boy that was the real deal.

I did learn a lot about recording guitars and basses from my home recoding experience and also from listening to my favorite records too. So here is my top ten tips on recording guitars and basses.

BTW please send me some of your first home recording Frankenstein laboratory creations, I would love to hear them.

#1: Use chord fragments instead of whole chords

Like a good B-3 player who uses two or three fingers, your chords and their voicings should be well thought out and economical. Try not to use roots or fifths unless the fifth is an altered fifth like a flat 5 or augmented 5th. Analyze the melody notes and try not to crowd them with notes that proximate in the same octave i.e. if your melody note is a root middle C and you want to use the 9th in the chord use one either an octave higher or lower..

The whole idea here is to give room for the other instruments or just to open up the music and let the notes you leave out be implied as opposed to being heard, it’s an interesting concept check it out!

#2: Utilize ghost tracks when recording bass guitar

This is a very useful technique when you want to change the texture of your bass track, without changing the integrity of the original. First you will need to clone the track, once you have done that clone it a second time. Now you should have three tracks, eq the first clone track very bassy and cut all the highs. Now do the opposite to the second clone track, eq it high and cut the lows. Now instead of changing the original track you can just add the clones to your taste.

A few pointers on this technique, first I think you should electronically clone the tracks and not shadow them by recording another bass track (that is an entire different idea). Now when eq-ing your clones try to do it while playing it alongside your original track, that will give you a better picture of where to go with the eq.

#3: Have a guitar strung up to Nashville tuning.

Nashville tuning for those not familiar with it is a six string guitar tuned with standard first three strings and the next three tuned up an octave. It’s like a twelve string without the low strings, pretty cool idea. They call it Nashville tuning because that’s where it started in the studios in Nashville. You can’t play lead with it, or accompany with it alone, but where it comes into play is adding it to a track where you want to add a highlight to your track. A twelve string will sound a bit muddy in comparison. Try some alternative voicings, and work it in and out of the mix.

Prepare yourself to adjust the truss rod as this tuning puts almost no tension on the neck.

#4: Use stereo delays to fatten up rhythm guitar parts.

This is a method I have used for years, I especially like using the stereo delays on funky or single note rhythm parts. I will usually use a delay of 75ms to 150ms, panned hard left or right. The dry guitar panned one way the wet guitar panned the other way. This effect also works well on ½ note and ¼ note parts, like reggae-type feels.

You can also open up the delays for melody parts. What I like to do is set my time delays immediately when I record. I do this by counting the beats per minute and setting the delays accordingly. So if yourBPM’s are 105 I would set my delays at 210ms, 420ms and 840ms and use and combine them to taste.

One suggestion is to get a feel for it when you bring up your tracks, but I really start to get creative when it comes to the mix. Make it sound big, and don’t be afraid to get buck wild!

#5: Bass players use those flatwounds dammit!!!

Yes Mr. Bassman start recording with flatwounds and hear the magic. Don’t forget that drums record better when they are muffled (ask Ringo) and don’t decay, well boys sorry to tell you that unless you are playing Stanley Clarke style fusion your bass should not be sustaining all over the place. All it does is make the track feel real loose. Studio bass legend Joe Osborne recorded hundreds of sessions in the 60’s with the same set of “dead” strings for over four years! And when he did change them, he had to fish the dead ones out of the trash.

All your favorite James Jameson / Jerry Jemmot records of the 60’s were also recorded with flatwounds. Just try it!

#6: Always record a direct sound on a separate track

Whether you are recording through a POD or miking up your favorite amp, having the track recorded along side direct will always be a plus. You may never use it or just bleed it in, but you will feel better just knowing its there. The other plus is you can always “reamp” it by feeding the dry track through any device or by using a device such as a Reamp which allows you to run a recorded track back through an amp after the fact.

That’s the first part of this column – and remember, that you do not need a 24 track studio to create great music, you need go concise ideas and tons of overdubs and other filler. Reminder, Sgt Pepper recorded on a four track, Blizzard of Oz, 8 track, Uncle Meat a 3 track, all the early Motown hits two 2 tracks in sync, Dark Side of the Moon, 8 track – ..see a pattern developing?…..Part 2 next month.


Joey Leone

P.S. Mike Robinson and I have been working on some custom designs – the first is the Joey Leone Signature Model – for the past 18 months. We are getting close to the release date and will have some information available in the next newsletter. In the meantime, drop me an EMAIL and I can fill you in on some preliminary information. Here are some sneak peaks at the prototype.

Joey Leone Signature Guitar Prototype from Eastwood Guitars

Joey Leone Signature Guitar Prototype from Eastwood Guitars

Joey Leone Signature Guitar Prototype from Eastwood Guitars

Joey Leone Signature Guitar Prototype from Eastwood Guitars