Welcome to my home workshop

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Q: What is your current home recording setup?

Chris Greatti
Guitarist

A: I do all of my sessions at my home in LA, so it’s fully set up to quickly follow any instrument while still maintaining a super laid-back vibe. I just received the Adam A77X monitors (which I love). The vocal system is a Peluso 22 251 microphone in a Universal Audio LA-610 pre / comp in an Apollo x8p. As for the guitars: Fender Ultra Jazzmaster 2020 (which I use on everything), Gibson ’61 reissue SG, my custom Carbonetti Strat-style, Gibson Firebird and Hummingbird, some old Silvertone acoustics, etc. The amp situation of the day is a Kemper (for speed) with a Dumble preset from Top Jimi. The crank includes classics from MXR, EarthQuaker and Strymon. I prefer my Fender P bass with dishes. The synth setup has just been upgraded as well: Moog Sub 37, Roland Juno-106, Mellotron M4000D and some terrible Yamaha toys. Lastly, and arguably the most important, I just bought seven sunset lights and they are making my life a lot better.

Chris Greatti – Guitarist / Producer

Photo by Gianenmio Salucci

A: I do all of my sessions at my home in LA, so it’s fully set up to quickly follow any instrument while still maintaining a super laid-back vibe. I just received the Adam A77X monitors (which I love). The vocal system is a Peluso 22 251 microphone in a Universal Audio LA-610 pre / comp in an Apollo x8p. As for the guitars: Fender Ultra Jazzmaster 2020 (which I use on everything), Gibson ’61 reissue SG, my custom Carbonetti Strat-style, Gibson Firebird and Hummingbird, some old Silvertone acoustics, etc. The amp situation of the day is a Kemper (for speed) with a Dumble preset from Top Jimi. The crank includes classics from MXR, EarthQuaker and Strymon. I prefer my Fender P bass with dishes. The synth setup has just been upgraded as well: Moog Sub 37, Roland Juno-106, Mellotron M4000D and some terrible Yamaha toys. Lastly, and arguably the most important, I just bought seven sunset lights and they are making my life a lot better.

Current obsession:

Caroline Polachek, Lewis Taylor Lost album, Teenage Fanclub, Portishead’s Dummy, Yves Tumor, perpetually a little Lady Gaga, and Van Halen. Me too, I came back to the Strokes. Their guitar parts are as creative as ever and they are incredibly tight and unique as a band. But to be honest, I’ve been very busy this year producing albums for Yungblud and Palaye Royale (not simultaneously, but in quick succession) and I’ve mostly been in the open space for these projects, deliberately trying not to not absorb too many external influences. .

Portishead – Wandering Star (official video)

Daniel LeSaux – Reader of the month


Daniel Le Saux

A: My recording setup is small, but I was able to pack a lot of things into a tiny space. I built my own cabinets to maximize the use of the room. My crankset is at the knees to facilitate adjustments. My studio is called “Moose Tracks”, a nod to the state of New Hampshire, where I live. In my digital workstation I am using a PreSonus Studio One with a PreSonus 1824c interface and a PreSonus FaderPort II. I have KRK Rokit 5 monitors, KRK KNS 8400 headphones, Mackie Micro Series 1202-VLZ mixer, and Mackie Big Knob passive monitor controller. My external effects include: Klark Teknik EQP-KT passive tube equalizer, Klark Teknik 76-KT FET peak limiter, Klark Teknik KT-2A optical electric tube leveling amplifier, PreSonus Studio channel strip and a 48 point Samson S-Patch patch bay. I have way too many pedals to list!

Current obsession:

I searched for the perfect clean sound on the verge of breaking, similar to what Larry Carlton has used in his latest releases. This tone is so lively and expressive. It takes high gain and a soft feel to achieve this. And as soon as you dig a little, the notes explode! It allows for so much tonal variation depending on the attack of the pick, the angle of the pick, and whether you are using up or down strokes. It also allows you to easily switch from rhythm to lead by simply varying the attack of the pick. To achieve this sound, I play on an original Epiphone Dot using a mix of the two pickups in a Custom Tones Ethos Clean II running in a Two Notes CAB M + with a 1×12 Electro-Voice open back cabinet simulation. I have an MXR Carbon Copy in the FX loop and an MXR M300 as a send to the Mackie card. I am currently working on an album of original tracks using this setup.

Rig presentation – Larry Carlton

John Bohlinger – Nashville Correspondent


John bohlinger

A: I have spent all my money on recording devices four times in my life. A few years ago, when the Mac tower that powered my Digi 002 died, I switched from my Pro Tools platform to a simplified Universal Audio Apollo Twin / Logic combo. Although the old system was primitive, I was familiar with it, could work quickly and achieve decent results. After this last change, I feel like I’m relearning the rig every time I turn it on. Sessions rarely run smoothly; there are a lot of mysterious error messages and a lot of bad language from me. I usually want to toss this damn thing across the room at least once in every project.

Current obsession

Let go.

Shawn Hammond – Director of Content


Shawn hammond

A: To follow me (guitar, vocals, keyboards) and Connor, my drummer, live together, I use a 4-input Audient iD44 and a 2-input Apogee Duet feeding GarageBand. The guitars (and the keys, which go through my guitar rig) are taken in mic with a Royer R-121 (sometimes also with an SM57). A Shure KSM32 large diaphragm condenser is the drumhead, a Rode M2 ​​dynamic is on the snare, and an Audix D6 is on the kick drum. For the bass, I often go straight into a Warm Audio WA-2A tube compressor, in addition to picking up the amp with the Audix. For vocals, I use a Shure SM7B. The monitors are a pair of KRK Rokit 7 G4.

Current obsession:

Using all of the above and coming back to the concert!

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