RENE LABRE

E-Quest:You Have A Large Grip Of Very Professional Recordings,How Is that?

If you decide to do this,do it right.Don't fool around with it halfway.I got made aware of Morrisound Studios by my friends from the Death Meatal band,The Excutioners,later to be known as Obituary.At this point we were just fellow musicians and friends from our day jobs we worked together.John and Donald Tardy.They let me play some of my tapes to them at their house and recommended that I check out Morrisound.They were about to become huge.On their early tours they still keep working their day jobs when they came home.Very straight up and fun dudes.Quite clean cut,very good manners.Any way that got the thing started but i still had no idea,I had recorded doing guitar stuff for Blackstar at Critera Studios in Miami, and when I was in Nashville had recorded at the Music Mill on guitar for "The Prisioner."The original recording for "Jerico" was done that night.He was sponsored by Sherrod Vans out of jacksonville.I met him at the union hall #251 in Nashville.Wow,here is how nashville works man,he was with his pianist sitting down and said "Man I need a guitar player right now!"I walked up to him and said "I play Guitar."He said "If you shake my hand and join up with me I have got you for $350 dollars a week,rain or shine."Normally I would make $250 to go on the road all over the country.The gig lasted 7 weeks and he was good for the money with no complaint,the sessions at The Music Mill were fantastic. Morrisound was even more advanced than that.I would still visit "cut rate studios."You know,with egg crates on the wall.I always came to regret this as I would end up having to import/export data.The learning curve here was so huge.I had to become a scientist in the form of an executive producer.a huge transition was going down,from analog to digital recording.The entire platform was going to change.For a time you could still choose yet made aware that you would have to convert.My technique as executive producer was to make the analog approach cross over to the digital format.And digital sounded very "Thin" to me,and cold.It was seperated and not ambient.Then of course,the object of it,Shortcuts and cut and paste.And as a scientist I have got to agree,but what was missing?The guitar was the weak signal.It needed to be pre-amped.Nobody understands why yet but it settles the equasion for now.Even the acoustic guitars have to be pre-amped.Then you have got the warmth of the track.Mathematically it all adds up,Algebra wise the equasion is solved and the track rocks.If you are not as serious about this as me then you will do different.It facinates me more as a scientist than it does as a recording artist.As an artist I do not share the restrictions of the scientist.My job is to cut that track.To jam that track to the fullest.That is what the production people want.Even just a tiny percussion track like maracas.The process is to go way over the top and then cut back as needed.I ought to charge you to tell you that.But how far do you cut it back?I go in super rehearsed,Every poly rhythm attack.Colorama,the studio where I lay down my rhythm tracks,my producer chooses from over 300 vintage axes,all original condition, which guitar I am going to record with.My surprise might be that it is a "62" Les paul Junior.That old guitar be loving me so much and she wants to blow up the track.Intonation all set new strings all set in.A fire in the fireplace keeping us warm.Fully stocked bar,cut the track.Drop it.This is why I am a recording artist and you are not.

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