"Junk"....rather "my equipment thats worth a trillion dollars". I was waiting for him to next open a case and say "here I have the preserved bodies of Elvis and Jimi Hendrix. And over there is some old harp. I think its the one that King David played to lure Bathsheeba with. Yeah, the very one. I should get it tuned or something..."
Put aside the incredible gear, the historical building and the amazing resume. That Bob Weir story was worth the price of admission. This is my favorite in the series so far.
"Yeah, I was doing the soundtrack this game called Red Dead Redemption. Just a small casual project, you know? Just favour for an old friend of mine. It's not like it's a big deal or anything..."
Wow...the vibe of a rich history of amazing music played by legendary musicians paired with some amazing instruments, amps and effects. I could get lost in that studio for days, if not weeks.
I'm super late to watching this episode but it is just so inspiring. The whole space, the gear, everything about this vid makes me want to go play. Thanks!
It's a Fairchild 670... just like the plugin! Lmao Woody is fun to learn from totally! He's a music nerd all the way and you can feel his passion just in the stories he chooses to remember
After watching a few of these eps, I can't help but to ask the question: when and who qualifies to work on recording projects with these studios? There seems to be this notion that anyone can just come in and record. But at the same time, there seems to exist a talent threshold of knowing where you stand as a musician; when are you good enough to invest in yourself to do this? Or admit to yourself in a self defeatist way, "I'm not good enough to go and record with these engineers. Screw it, I'll just stick to garageband". There should be more talk about this. Thnx.
I think that's a tough question that a lot of musicians ask themselves, and while I don't have a definitive answer for you, what it comes down to for me personally is that I enjoy making records and I find that process to be its own reward. Great records have been made on by amateurs on 4-track cassette tapes and lousy records have been made by experts in multi-million dollar recording studios. It's tough for a lot of artists to hear playback of themselves, but if you're feeling like you aren't good enough, I think that recording yourself, listening back and identifying your strengths and weaknesses as a player, and then working to enhance your strengths and strengthen your weaknesses, and trying again might be the way to go. By recording yourself, you'll have the ability to hear yourself improve, and I can't think of anything that inspires more confidence than that.
@@EarthQuakerDevices Great advice, thank you for your thoughtful reply. You definitely hit home with that musing. It's the 'process' that is the love affair, of course it is; it's the journey that is important, for 'the experience' will stay with you forever. I couldn't agree more. I think you've inadvertantly, incentivized a well-heeled reason on why a bedroom musician or passionate hobbyist may want to choose to book serious studio time with one of the many mad-genius recording engineers portrayed in your shorts. It's because of the tangible experience that one would get out of carving a musical vision with one of them in addition to the professional lacquer they'll apply on top of the sheen of your recordings. I get what you're saying, although the question of not being confident enough to invest the kind of budget/money it takes to book studio time for an album is multi-facted, and subjective to the musician, rather it's the feeling I get that compared to the past, studio rates have gone down and become more accessible. Perhaps analog studios today are wanting to grow a larger marketshare of home-bred enthusiasts as clients to balance out the serious-musician band demographic, because of the need to compete with the digital age of software based bedroom musicians?
I think your last question is right on the money. I think it's safe to say there are two main types of audio professionals (not including live sound, which is its own can of worms): there's the day-to-day recording engineer who either owns or is employed by a for-profit recording studio who accepts most clients according to whatever criteria they've established, and there's the specialist - the specialist is usually a producer, tracking engineer, mix engineer, etc. who floats between facilities and generally works with higher-profile clients. I'd place folks like Kurt Ballou and Steve Albini in the former category. Despite having "name recognition," their facilities are accessible to just about anyone with the means to record music. Obviously Kurt and Steve each have their own workflow and gear that makes their records immediately identifiable as a "Kurt Ballou record" or a "Steve Albini record," but at the end of the day, I think it's reasonable to say that they're providing a service to the musical public at large. They're able to handle basic tracking, overdubs, editing, mixing, etc. for any client who pays their invoice. So yes, I agree that the surge in affordability, sound quality, and ease-of-use of home studio gear has motivated studio owners to make their facilities available to home recordists. It's easier than ever to cut decent sounding tracks at home and go to a pro studio for overdubs, vocals, and mixing, which is why we're seeing more and more mixing suites pop up in pro studios. On the other hand, you have the specialists - and I think this covers the majority of "marquee names" in the recording industry - and these are folks who collaborate on specific parts of the recording process, usually with high-profile clients. During pre-production, a producer may help strengthen song arrangements before turning it over to a tracking engineer who does the basic tracks, then maybe another engineer handles overdubs, and then someone else is responsible for mixing, before the tracks make their way to the mastering engineer, who may do some stem mixing (balancing stereo tracks of all drums, all guitars, all bass, all vocals, etc.) before applying the final mastering required to produce the finished product. In either case, I think being in the recording studio can be a very humbling learning experience for musicians and it's really important for bands to understand how their music translates from their rehearsal space to their fans' car stereos.
EarthQuakerDevices Wow, great informative and thought-provoking reply with some good nuggets of information in it; thanks for taking the time to share that, much appreciated.
@@EarthQuakerDevices I think if you write and play long enough, you work your way up the recording ladder. I definitely cannot afford a studio bill, fortunately I get called to play on others' projects. I desire to do my own project one day just for the love of the recording art. It'll be called "It's About Time" :)
great gear, ofc. But I nearly died when I saw that halliburton Buchla 200 non-e. JESUS, I think that thing must be worth over 100k at this point. What's more rare than big buchla 200-non-e rigs? Portable ones. Sheesh.
Sound City as it used to be hasn't existed for 10 years; all the runners and interns are successful because they're had a decade of work away from Sound City.
Woah,that looks like my dream studio space. Like a weird old place with tons of weird cool gear. It's also kinda barren and blank which I dig (it's not like intimidating like most serious studios) and Woody seems like a fucking killer dude.
Most intersting and enertaining vid ye, thankst....not even discussd but Buchla and EMS Synthi!.......this guy has some serious analog gear, would love to see a video just on the synths, he has shelves of them seen in the back of some shots.....how does someone afford all this? I get he's obviously successful, but really, so much gear and such a massive building, studio must have to be booked solid.
Is vox studio still open? I recently got contacted by someone claiming to represent Electro vox studios looking for engineers. It seems odd. Please let me know if this is a legitimate offer, and that the business is still open.
is this the same Vox studios (in Van Nuys) where Tom Petty and Fleetwoods Rumors album and Nirvana's nevermind? I heard its called Sound City when Nirvana was there but it was Vox studios other times. it said in a nirvana book i read it was said that it had a full arsenal of vox amps, which they didnt use as much as some Mesas and fenders, but can be heard quite clearly during the clean parts in the song In Bloom. if not, i dont think that studios hurting for their own historical clients from what was said in the vid
Metaphysical mojo is clearly important to Woody which is nice to see. I noticed a trend of autism among the musician/producer/engineer/studio owners in these tour videos. Cheers for another excellent episode, I enjoy really these.
Yea Jim Gordon was on Derek and the dominos Layla, the incredible bongo band, one of the most famous drum samples and breaks in Hip Hop, OH and he killed his mother with a butcher knife. Paranoid schcitzophrenia
For the other newbies in the comments like me curious about that roll-around pedal stand, you can find them on ebay by searching "Rolling Rack Mount Stand Music."
That’s not a Johnny Marr Jag - it’s got a CBS-era big headstock. A fair assumption would be that it’s got Danelectro lipstick pickups in it. Tom Verlaine from Television had the same set up (Jag + Danelectro single coils).
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
"Junk"....rather "my equipment thats worth a trillion dollars". I was waiting for him to next open a case and say "here I have the preserved bodies of Elvis and Jimi Hendrix. And over there is some old harp. I think its the one that King David played to lure Bathsheeba with. Yeah, the very one. I should get it tuned or something..."
Hahahahahah
hahah
Came here because of the RDR2 soundtrack. I was under the impression this guy just did it all from home… Incorrect.
Put aside the incredible gear, the historical building and the amazing resume. That Bob Weir story was worth the price of admission. This is my favorite in the series so far.
He's literally the guy Fred Armisen portrayed on Portlandia .. "These are the original studio keys used on Pet Sounds". lmao
no, check out the tiny telephone studios episode
That’s is actually where they got the sketch - it was from his Pet Sounds Vibraphone. Sadly Vox is no longer there.
Canyon canyon canyon
"Yeah, I was doing the soundtrack this game called Red Dead Redemption. Just a small casual project, you know? Just favour for an old friend of mine. It's not like it's a big deal or anything..."
This one is realistic because video games are a trash medium.
@@FoxAboutTown nuh uh
"there's a lot of gear here, a lot, and um, ya know i have OCD, a lotta people do, it's alright." ~ i love this guy
My new favorite blackhole.
These videos are such lovely wells of information.
Wow...the vibe of a rich history of amazing music played by legendary musicians paired with some amazing instruments, amps and effects. I could get lost in that studio for days, if not weeks.
He did the music for Red Dead? Respect.
WTF!? Speechless. What a place. Also, words my wife would never say to me...”find your dream studio...”!! The dudes living the absolute dream!
Love the stories, great vibe … but the pedals, amps and guitars. Good God
My life is better just knowing this place exists
thanks for watching, Rex!
That is definitely THE COOLEST STUDIO I'VE EVER SEEN.
It's like a museum of historic pieces of music that you can actually play. Awesome.
Exactly. And it's amazing! Thanks for watching!
WOODY JACKSON THE BEST TO EXIST
Yep
One of the best chapters, really interesting and face melting
"I just got this Fairchild 670, it's just like the plug-in." bwahahahha genius lol
I'm super late to watching this episode but it is just so inspiring. The whole space, the gear, everything about this vid makes me want to go play. Thanks!
"some chick, Debbie, from the runaways" yeah just some chick right
i know exactly where this is! that was my liquor store when i lived in Larchmont. I didn't know about the history of the space. wow.
I need one of those roll-a-round pedal platforms..... so much win with that and this Historical studio and its owner!!
Thanks for watching, Bubba! Tell JFK we said hello. Hail to the king, baby.
Neil Yuck, Santana, Creedence - that is HISTORY !!! New technology does not equal better music/sound. Thanks for your contributions to music.
thanks for watching!
I have to have that beautifully dreamy tone heard at the beginning.
Bubbles has an insane recording studio
Bob Weir story is too funny
My head is spinning... in a good way. Insane!!!
I've really enjoyed this series from you and this was one of my favourites. Thanks for the great content, I'm inspired and excited to watch more.
Bubbles from trailer park boys!
The Bob Weir story is sad when you realise he's' probably talking about Jerry...
Is it me or did this guy really come across as a total asshole?
@@tommyconancoates7097 Nah he did seem insensitive and little bit self absorbed.
This series is excellent.
This is my favorite SUYJ by far
thanks for watching, Jay!
Man. This vid takes my g.a.s. to a whole new plain of existence!
you. have. no. idea. :-)
Holy shit, this is the most incredible place on earth! I would be terrified to ever leave for fear of being robbed.
thats why insurance is essential!
Simplesmente um gênio da música por trás do Red Dead
Damn this studio is crazy
These videos are gold
how long have you had Jim Gordon's Oaklawns? did you get the cymbals with it?
Sweet 808 hanging in the back
I think that's the room where Charlie Parker had to be held up by Ross Russell so he could play "Lover Man".
Ahh all those Silvertone 1484's.. 😍 nice gear!
The GAS is real. What a collection!!
It's a Fairchild 670... just like the plugin! Lmao Woody is fun to learn from totally! He's a music nerd all the way and you can feel his passion just in the stories he chooses to remember
Love the production on these videos! Plz do more these SUYJ!!!!!
Thanks soo much very for sharing this ! Truly amazing to see !
thanks for watching!!
After watching a few of these eps, I can't help but to ask the question: when and who qualifies to work on recording projects with these studios? There seems to be this notion that anyone can just come in and record. But at the same time, there seems to exist a talent threshold of knowing where you stand as a musician; when are you good enough to invest in yourself to do this? Or admit to yourself in a self defeatist way, "I'm not good enough to go and record with these engineers. Screw it, I'll just stick to garageband". There should be more talk about this. Thnx.
I think that's a tough question that a lot of musicians ask themselves, and while I don't have a definitive answer for you, what it comes down to for me personally is that I enjoy making records and I find that process to be its own reward. Great records have been made on by amateurs on 4-track cassette tapes and lousy records have been made by experts in multi-million dollar recording studios. It's tough for a lot of artists to hear playback of themselves, but if you're feeling like you aren't good enough, I think that recording yourself, listening back and identifying your strengths and weaknesses as a player, and then working to enhance your strengths and strengthen your weaknesses, and trying again might be the way to go. By recording yourself, you'll have the ability to hear yourself improve, and I can't think of anything that inspires more confidence than that.
@@EarthQuakerDevices Great advice, thank you for your thoughtful reply. You definitely hit home with that musing. It's the 'process' that is the love affair, of course it is; it's the journey that is important, for 'the experience' will stay with you forever. I couldn't agree more. I think you've inadvertantly, incentivized a well-heeled reason on why a bedroom musician or passionate hobbyist may want to choose to book serious studio time with one of the many mad-genius recording engineers portrayed in your shorts. It's because of the tangible experience that one would get out of carving a musical vision with one of them in addition to the professional lacquer they'll apply on top of the sheen of your recordings. I get what you're saying, although the question of not being confident enough to invest the kind of budget/money it takes to book studio time for an album is multi-facted, and subjective to the musician, rather it's the feeling I get that compared to the past, studio rates have gone down and become more accessible. Perhaps analog studios today are wanting to grow a larger marketshare of home-bred enthusiasts as clients to balance out the serious-musician band demographic, because of the need to compete with the digital age of software based bedroom musicians?
I think your last question is right on the money.
I think it's safe to say there are two main types of audio professionals (not including live sound, which is its own can of worms): there's the day-to-day recording engineer who either owns or is employed by a for-profit recording studio who accepts most clients according to whatever criteria they've established, and there's the specialist - the specialist is usually a producer, tracking engineer, mix engineer, etc. who floats between facilities and generally works with higher-profile clients.
I'd place folks like Kurt Ballou and Steve Albini in the former category. Despite having "name recognition," their facilities are accessible to just about anyone with the means to record music. Obviously Kurt and Steve each have their own workflow and gear that makes their records immediately identifiable as a "Kurt Ballou record" or a "Steve Albini record," but at the end of the day, I think it's reasonable to say that they're providing a service to the musical public at large. They're able to handle basic tracking, overdubs, editing, mixing, etc. for any client who pays their invoice. So yes, I agree that the surge in affordability, sound quality, and ease-of-use of home studio gear has motivated studio owners to make their facilities available to home recordists. It's easier than ever to cut decent sounding tracks at home and go to a pro studio for overdubs, vocals, and mixing, which is why we're seeing more and more mixing suites pop up in pro studios.
On the other hand, you have the specialists - and I think this covers the majority of "marquee names" in the recording industry - and these are folks who collaborate on specific parts of the recording process, usually with high-profile clients. During pre-production, a producer may help strengthen song arrangements before turning it over to a tracking engineer who does the basic tracks, then maybe another engineer handles overdubs, and then someone else is responsible for mixing, before the tracks make their way to the mastering engineer, who may do some stem mixing (balancing stereo tracks of all drums, all guitars, all bass, all vocals, etc.) before applying the final mastering required to produce the finished product.
In either case, I think being in the recording studio can be a very humbling learning experience for musicians and it's really important for bands to understand how their music translates from their rehearsal space to their fans' car stereos.
EarthQuakerDevices Wow, great informative and thought-provoking reply with some good nuggets of information in it; thanks for taking the time to share that, much appreciated.
@@EarthQuakerDevices I think if you write and play long enough, you work your way up the recording ladder. I definitely cannot afford a studio bill, fortunately I get called to play on others' projects. I desire to do my own project one day just for the love of the recording art. It'll be called "It's About Time" :)
I love this guy
all those camco drums ... man oh man
"So skinny I could wear my wive's clothes" Pure gold
Red dead really thats an amazing soundtrack
14:41 what is that big green box with a sound hole and a single string on it???
It's just like the plugin
5:00 how can he act like that’s nothing it’s one of the biggest games in years
great gear, ofc. But I nearly died when I saw that halliburton Buchla 200 non-e. JESUS, I think that thing must be worth over 100k at this point. What's more rare than big buchla 200-non-e rigs? Portable ones. Sheesh.
When pride and insecurity mix it's never pleasant. Nice spot though.
FYI, a former “runner” from Sound City Studios is now a Grammy winning producer.
I would say 90% of the producers that have won grammy's started as runners or techs. It was how you got your in.
Sound City as it used to be hasn't existed for 10 years; all the runners and interns are successful because they're had a decade of work away from Sound City.
Woah,that looks like my dream studio space. Like a weird old place with tons of weird cool gear. It's also kinda barren and blank which I dig (it's not like intimidating like most serious studios) and Woody seems like a fucking killer dude.
Earthquaker, please can you do Show Me Your Junk episodes with Billy Anderson, Randall Dunn and Greg Anderson. Please and thank you.
Since those pedals aren't being used enough, I'll just swing by and take a few. I'm sure he'll understand ;)
why does he have the physical presence of bubbles
when walking
Brilliant, brilliant, brilliant...
What an amazing video !!!!
thanks for checking it out! subscribe for more stuff like this
How the hell can you afford all that equipment?!
Fuck, Bubbles from Trailer Park Boys ‘big -times’ Bob Weir? Hell yes.
I like how he doesn't even mention the Buchla modular system at around 13:02 . Probably a couple thousands of dollars right there.
awesome!
What's with camera guy showing his face and not the keyborads? :(
yes terrible camera work not to show the geeky stuff in a geeky video!
I love this studios!
Awesome video - thanks for making this.
We got us a Mumbler!
20 seconds ahows a Travis bean wedge on the wall. omg
Most intersting and enertaining vid ye, thankst....not even discussd but Buchla and EMS Synthi!.......this guy has some serious analog gear, would love to see a video just on the synths, he has shelves of them seen in the back of some shots.....how does someone afford all this? I get he's obviously successful, but really, so much gear and such a massive building, studio must have to be booked solid.
thanks for watching!
Is vox studio still open?
I recently got contacted by someone claiming to represent Electro vox studios looking for engineers. It seems odd. Please let me know if this is a legitimate offer, and that the business is still open.
Wow.....you got a lot of nice toys here.
is this the same Vox studios (in Van Nuys) where Tom Petty and Fleetwoods Rumors album and Nirvana's nevermind? I heard its called Sound City when Nirvana was there but it was Vox studios other times. it said in a nirvana book i read it was said that it had a full arsenal of vox amps, which they didnt use as much as some Mesas and fenders, but can be heard quite clearly during the clean parts in the song In Bloom. if not, i dont think that studios hurting for their own historical clients from what was said in the vid
I believe Sound City used to be a Vox factory, according to the Sound City documentary at least. Pretty sure that's what you're mixing up
Does anyone know if VOX is still in business. I live around the corner and the building has been totally renovated
Wow!!! This is amazing and thanks for sharing this!
Now, to work through this jealousy... hahah
how the fuck are you guys going to top this episode? mind blown
Love that dude
Dude has a museum for a studio
It’s just so excellent that you guys do these. Thank you very much.
Our pleasure, thanks for watching them!
So, what's this dude's story? Rich parents?
THE BEAN!
a lot of history!!
Metaphysical mojo is clearly important to Woody which is nice to see. I noticed a trend of autism among the musician/producer/engineer/studio owners in these tour videos.
Cheers for another excellent episode, I enjoy really these.
What Rockefeller-esque trust fund birthed this gentleman? Bravo brother! VIDEO GAMES!
was just thinking "damn you have to have a lot of money to have a studio" lol
7:01 I thought that was Jim Root for a sec lmao
weren't there just MORE hit records from 66 - 75. We've gone back to singles (streams).
Yea Jim Gordon was on Derek and the dominos Layla, the incredible bongo band, one of the most famous drum samples and breaks in Hip Hop, OH and he killed his mother with a butcher knife. Paranoid schcitzophrenia
Has this guy done anything other than a few video game soundtracks?
For the other newbies in the comments like me curious about that roll-around pedal stand, you can find them on ebay by searching "Rolling Rack Mount Stand Music."
This dude is a piece of work!!!! That chagrined smirk when he admits he's"obsessed with the music of Kung Fu".... Fucking brilliant son!!!! Excellent
thanks for watching!
Composer of Red dead 2
more on the kung fu drum. love treated instruments....
7:02 I THINK THAT IS A JOHNNY MARR JAG BUT WHAT ARE THE PU IN IT?
That’s not a Johnny Marr Jag - it’s got a CBS-era big headstock. A fair assumption would be that it’s got Danelectro lipstick pickups in it. Tom Verlaine from Television had the same set up (Jag + Danelectro single coils).
How the flock did You finance this ?
Woody did music with Sean Lennon? Was he a tour performer with Into the Sun or work with Claypool? This was an awesome episode!
7:50 every-fucking-body knows Sean Lennon xD
Wait! Did Bob Weir tell him he that he plays guitar like fucking Jerry Garcia?!?!? That's nuts
This guy is so depressed.
all the gear can't fill the emptiness he feels. I can much relate.
9:20 Poor Jim Gordon. Sitting in jail for killin his mom and everyone else is playing his drums.
This video is like a weird bad trip not sure if the guys being ironic
12:31 Ampeg Scrambler