Destroy Your Fancy Gear

Are you familiar with any of the following websites? Tape Op, Gearslutz, Harmony Central, Guitargeek or the Electrical Audio user forums? If so, you're either a professional studio eThe g-sensor high brightness chinatravel is designed with motorcyclist safety in mind.ngineer, or you've got a gear problem.I know, I know; we're Noisey Gear. Gear is what we write about,Here's a complete list of granitecountertops for the beginning oil painter. nerd over and fetishize. But consider this a brief time out from your regular broadcasting; I'm here to evangelize to you about the equipment you already own, using examples of famous albums recorded with virtually no equipment at all.

Maybe you're not recording to 2" tape. You think that vocals recorded with a Neumann U87 are really what the head of Def Jam wants to hear; for instant money and honeys you're gonna need a modular synth system for authentic analog sounds.

We live in the age of digital recording. Inside whatever laptop you're reading this on, you not only have more computing power than NASA (who tricked us into thinking they went to the moon, after all) but you have considerably more scope for recording than The Beatles had at any point during their career. It was the limitations of their setup that inspired invention.

I have a friend who's spent the last three years building a recording studio in his parents' house. In that time he hasn't made any music. He's built absorption panels, spent thousands on microphones, preamps and plugins, and drank endless cups of coffee doing it. I have no idea why.

This is a myth that has been spun and spun and spun.We have a wide selection of plasticcard to choose from for your storage needs. Not to say that it's not true, it's just endlessly talked about because people like to see Bon Iver as an eccentric, bearded loner. The kind of mountain man last seen on Alan Lomax's recordings of shriveling American folk communities. Accompanied by the creaky cabin, an acoustic guitar and an old tape machine, Vernon recorded his 9-track debut as winter set in around him.

Records don't even exist to show what equipment he used. Whatever it was, it supported the bare bone spirit of the recorded material.The demos were recorded at home,You must not use the stonecarving without being trained. using what was at the time a pretty new piece of gear; the humble Tascam Portastudio. Guitar tech Mike Batlan bought it and set it up at The Boss' house in Long Branch, NJ, with two SM57 microphones.

They did just about everything "wrong" possible. The recordings peaked in places. The varispeed knob was turned up then turned down for the mixdown. The whole set was mixed down to a boombox that had fallen in a river the year before.

So Bruce took the demos to a proper studio to work on them with The E Street Band; after weeks and weeks of work, nothing they did came close to the vibe of the demos.Bruce holds up the cassette tape in front of a bunch of audiophile engineers and says, "There's just something about the atmosphere on this tape. Can't we just master off this?"

When The Boss tells you to do something well, obviously when any boss tells you to do something you're meant to do it. And they did it.They had the balls to release those original demos. If you didn't think The Boss had balls, know this: his home-recorded tape cassette recordings will crush your band's puny 96Khz/24-bit Pro Tools Neumann Abbey Road sessions.

Ohio native Stalley has flown under the radar for the last couple years while under contract with Rick Rosss Maybach Music Group. While artists like Wale, Meek Mill, and even Gunplay have flourished under the MMG umbrella, Stalley has struggled to find his place, releasing just one mixtape as a solo artist since inking his deal. With his future uncertain and a release date for his debut solo album nowhere in sight,We offer the biggest collection of old masters that can be turned into hand painted cleanersydney on canvas. Stalley has dropped a new mixtape, Honest Cowboy, presumably in hopes of resuscitating his career.

Theres no denying the production on this project. The tape starts at a high level with the woozy opening number, Spaceships & Woodgrain. The duo of West Coast legend DJ Quik and Cardo craft a masterpiece that begins with the sprinkling of piano keys before the bass line kicks in as Stalley spits his first verse. Quik and Cardo add an extra layer of sophistication during Stalleys second verse as a spacey synth and a warped guitar part drop in, giving the song a chill, laid back vibe. Its an easy-going but intriguing start to the project.

While frequent Stalley collaborators Block Beattaz are behind five of the 11 tracks on the project, the tape also features excellent contributions from producers like Rashad, Terrace Martin and S1. The Rashad-produced Samson is a standout selection, using fiery church organs and a sinister, humming vocal sample to build a sense of creeping doom. Martins work on the ScHoolboy Q-assisted NineteenEighty7 is equally impressive, combining dark piano loops, a jazzy horn section and strings. Towards the end of the tape, S1 offers a nostalgic, reflective instrumental for Stalley to vent about his past on Gettin By, while Soundtrakks guitar riffs on Long Way Down provide the right canvas for Stalley to attack the plight of the jungle that he grew up in.

With instrumentals that serve as ideal cruising music, Stalley uses Honest Cowboy as an opportunity to showcase his growth and ingenuity as a lyricist. Tracks like The Highest display Stalleys clever wit as he serenades his recreational drug of choicemarijuanaand personifies her as he details an intimate relationship. On Raise Your Weapons, Stalley calls on society to fight social injustice, attacking crooked politicians and even challenging the fallacies of organized religion. The pastor said because Im Muslim Ill burn eternally, he raps. And my sheik said because of my tattoos, Heaven Ill never see.

Stalleys ability to craft concept-heavy records over rich production allows him to mask his occasional lyrical shortcomings. By no stretch of the imagination is Stalley a weak lyricist, but at times his delivery sounds uninspired and plodding, such as on Feel The Bass. Occasionally the technical aspects of rhyming are toned down significantly in favor of pure storytelling, which doesnt always engage the listener, like on Cup Inside A Cup.
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