Gasoline 67 at Blackbird Studio D

So this week I am at Blackbird Studio D. I am tracking a really cool independent band, Gasoline 67. These guys are from Jacksonville Fl. They are considered a “power-trio”.
Here are the Technical details if you care.
Blackbird Studio D, 96 channel API
Protools HD, 24/48
Drums… Custom Yamaha kit with Craviotto and black Beauty Snr’s
Fet 47, D12, SM57, 451, KM84’s, C-12’s, 414’s, M50’s, 269’s, U47, RCA Ribbon, E/V p.o.s.
Egtr… Marshall on 10 with high gain, Gibson flying V.
57, Coles, and then… Royer. Coles couldn’t take the volume, oops. Sorry Richard.
Bass… 62 P-Bass, B-15 amp on 7
Vocal… SM_7a
Control Room… Neve 31105’s, 1081’s, 1073’s, API’s, Telefunken, Pultecs, Fairchild 670, LA-2A, DBX 160 VU, ATC, Tannoys

We tracked 4 songs in 2 days. Did the basics on day 1 and then did gtr solo’s and lead vocals and BGV’s today. we move into Studio C tomorrow and Wednesday to mix in the famous “Stick room”. The band has done an amazing job and the pre-production that they did has definitely paid off! I must say that I truly love what I do. If you are interested in booking me for your next record, please contact Sarah Stout or myself, via the contacts page.

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David Hall – A Biography Veteran Nashville engineer David Hall is a treasured member of the audio community in the country music capital of the world. His vast, multi-genre discography is a vivid illustration of why Nashville is known as Music City and also why Hall brings his musically diverse experiences with him to each and every session he works on. In the late 1980’s Hall began his career in Nashville’s contemporary Christian genre learning the unique intricacies that exist serving that clientele. This led to a steady gig at one of Nashville’s most respected studios, Quad Recording. Like most successful engineers Hall eventually became a sought-after freelance engineer and spent years working in most, if not all, of Nashville’s prime studios. “The education I had was invaluable. Every day I learned new gear, new consoles, new techniques not to mention the distinctly different personalities of producers and artists,” he said. Eventually, his big break came when he worked with Quincy Jones and Mervyn Warren on “Handel’s Messiah: A Soulful Celebration” as an assistant engineer. Soon he was getting solid bookings as an assistant with the cream of the crop pop/rock engineers including Csaba Petocz, Joe Chiccarelli, and Mick Guzauski. This brought an increased depth to his music-making abilities. He soaked up the years of experiences....learning as much as he could from their expertise. “I can honestly say that these men molded who I am as an engineer today. There is no class, no college, no course that can teach what I learned in their employ,” he shares. “I consistently and confidently use the things they taught me every single time I am in the studio.” As Nashville’s music scene grew and continued to diversify so did Hall’s career. He maintained his freelance status but worked primarily at Nashville’s premier studio, Blackbird. “I had a great relationship with the management. It was a trust thing,” he recalls about the arrangement he had where he was able to take recording projects from budget to completion. “It was incredible. I got to make lots of great music in an incredible studio. The clients, who clearly wanted the best when they booked Blackbird also got top-notch engineering.” Hall recognized immediately how essential budget concerns were to the clients he worked with, so again, he diversified. David works at several different studios in and around Nashville. With relationships at a variety of studios around town, he can offer clients various price points. Throughout his incredible career, Hall has been able to work on multiple gold and platinum projects and win multiple Grammy Awards. Perhaps the best thing he has earned is the respect of his audio peers.

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Jordyn StoddardSouthern Tide