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#1
05-31-2014, 09:44 AM
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Studio Musicans, what do you use?
I am interested in brands, strings, setup, tone wood used in your "tools" and any other interesting information. Thanks.
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http://chucksmusicpage.blogspot.com/ 
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#2
05-31-2014, 10:03 AM
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In the studio work I've done over the decades (on vocals, guitar, mandolin, Dobro and pedal steel in no particular order) I've primarily used my '71 D-28 with medium PB strings (EB Phosphor Studio Bronze for ages; Martin SP4200 now for a decade or so); a Kentucky prototype KM750 (Sam Bush Monels) and a Loar LM-700 prototype (SB Monels) for mandolins; an '87 Dobro 60D squareneck resonator; I think part of my second CD used a Dobro Model 27 Deluxe on a few tunes; an ancient Fender 8 string cable pull pedal steel in the old days & an MSA for the past 15 years.
My first CD also included a '59 0-18 and a '99 SP000-16R (one song using all three Martins on it). All guitars used medium PB strings. Back in the early '80s a soundtrack I wrote, arranged and (with other musicians) recorded for a local TV show was entirely done using the '71 D-28. It records well with a good snap to its richness. Generally, TS picks for recording. Here is the song with all three Martins on it. Echoes of a Cannon 
Last edited by kydave; 05-31-2014 at 12:14 PM.
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#3
05-31-2014, 10:41 AM
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I don't do a lot of studio work, but I generally stick with the basics. A small selection of acoustics, mostly rosewood/spruce but others as required, 6 and 12 strings, baritone, resonator, classical, electric bass. A couple of electrics to cover singlecoil and humbuckers. Plus other stuff depending on the session, like a guitjo, bouzouki, mandolin, ukuleles. Sometimes you're given a clue what they want in advance, sometimes not, but it's good to be prepared. Walking in with one guitar severely limits the possibilities.
D'Addario strings on most instruments, maybe John Pearse and others as required. Coated if string noise is an issue and I always carry extra sets. A selection of picks but I prefer Blue Chips for the lack of string clack. FX, mics, and cords in case the studio lacks something. It's surprising when they run out of the basics, but it happens, especially in small studios and home operations. I keep a tuner clipped to the headstock and double check between takes, just in case. It's embarrassing to have to restart due to retuning. It pays dividends to double on other instruments, and it saves time and effort for the artist/producer/studio. However, be prepared with those instruments, and they better be decent quality.
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#4
05-31-2014, 12:54 PM
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Two of my guitar coaches were also studio and touring musicians. They said the same as above, but the most important thing they brought were a backpack full of energy bars, fruit, sandwiches and bottles of water.
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Happy Sunsets Taylor 514ce (1999) Taylor K22ce - all Koa (2001) Taylor 612ce (2001) Taylor T5-C2 Koa (2007) Ovation CS28P KOAB - Koa Burst (2017) Paul Reed Smith 305 - Sunburst (2012) Paul Reed Smith Custom 22 - Autumn Sky (2013) Fender Classic Player 60s Strat - Sonic Blue (2012) Roland Juno DS76 (2020)
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#5
05-31-2014, 01:09 PM
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True, food is often an issue. Coffee too.
A couple of years ago I did some sessions in a converted bungalow. They kept the kitchen as is but renovated the rest of the house as a studio, wiring was in the walls, line of sight from the central booth to several rooms in the basement, more isolation rooms upstairs, level entry, lots of furniture to crash on if necessary. They fed us. Not the norm but any stretch.
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