The Lazeria Jam (mark2b thru marshall cab)
- Thread starter gonzo
- Start date
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this recording was done at lazeria studios outside of atlanta georgia, in 1982.
the band i was in, was off the road for 2 weeks, and we rented the studio to rehearse in.
this jam happened late at night after a rehearsal, and a bit of partying.
LOL
i used an Ibanez artist, thru a '81 mesa boogie mark2b, and a marshall cab, with a microphone about 18" away from the grille...
the engineer in the studio, threw up mics while we jammed, and then gave us headphones, and all those effects on the guitar (delay, pitch transposer) he put on as we mixed, and i just played to whatever effect he put on as it actually happened...
this was done with my 'original' 79 ibanez 2619.
i eventually sold in '84, had ALWAYS regretted, and scored a '77 2618 this past summer, to replace it.
the band i was in, was off the road for 2 weeks, and we rented the studio to rehearse in.
this jam happened late at night after a rehearsal, and a bit of partying.
LOL
i used an Ibanez artist, thru a '81 mesa boogie mark2b, and a marshall cab, with a microphone about 18" away from the grille...
the engineer in the studio, threw up mics while we jammed, and then gave us headphones, and all those effects on the guitar (delay, pitch transposer) he put on as we mixed, and i just played to whatever effect he put on as it actually happened...
this was done with my 'original' 79 ibanez 2619.
i eventually sold in '84, had ALWAYS regretted, and scored a '77 2618 this past summer, to replace it.
I love it.
Sounds like you're using a Whammy pedal but this was 1982 so pre-Whammy era? What was that pitch shifting effect?
Quite Zappa-esque in parts. Certainly captured the after-party vibe for me
BTW the panning was mad!
Thanks for your art.
Peace, Mahalo
Sounds like you're using a Whammy pedal but this was 1982 so pre-Whammy era? What was that pitch shifting effect?
Quite Zappa-esque in parts. Certainly captured the after-party vibe for me
BTW the panning was mad!
Thanks for your art.
Peace, Mahalo
thanks mahalo!
yes, this was an ancient MXR Pitch transposer, a rack mounted affair, that not many people had at the time....
yes, it was a fun night. lots of hasish.
a bit of wine.
and man, was it loud!!
LOL
bass player was in the booth with the engineer, i was out in the big room with the amp wide open, drummer behind 3 gobos...
you know, lots of folks mention that use of the pitch transposer, and mention steve vai at the same time, but this was many years before he ever hit the scene....
the bass player liked that pitch transposer so much, he bought one for his bass rig.
it sounded awesome live, and i've never heard another unit sound so nice and analog.
it did have some latency, but the sound was so warm...back then, it was like a synth on guitar.
yes, this was an ancient MXR Pitch transposer, a rack mounted affair, that not many people had at the time....
yes, it was a fun night. lots of hasish.
a bit of wine.
and man, was it loud!!
LOL
bass player was in the booth with the engineer, i was out in the big room with the amp wide open, drummer behind 3 gobos...
you know, lots of folks mention that use of the pitch transposer, and mention steve vai at the same time, but this was many years before he ever hit the scene....
the bass player liked that pitch transposer so much, he bought one for his bass rig.
it sounded awesome live, and i've never heard another unit sound so nice and analog.
it did have some latency, but the sound was so warm...back then, it was like a synth on guitar.
lyman
Well-known member
gonzo said:it might do you good to be altered to listen to it.
you might feel altered just from listening to it! i mean that as a compliment btw. it's a cool bit of "out there" jamming.
the beginning (starting at around 0:20) reminds me of early primus actually....sounds like it could be something off of "frizzle fry" even though it pre-dates that album by several years.
thanks for posting.
hey lyman!
thanks for checking it out...
i've had somebody else mention primus..
i guess they were pretty experimental in the beginning..
i'm not familiar with much of primus, tho i do own the 'Brown Album', and dig it.
thanks for checking it out...
i've had somebody else mention primus..
i guess they were pretty experimental in the beginning..
i'm not familiar with much of primus, tho i do own the 'Brown Album', and dig it.
neptical-
yep, those jazz fusion guys would have been some sort of influence, for sure..
we 3 of the group (bass player, drummer, myself) listened to all kinds of stuff..
but liked the progressive stuff too.
thanks for checking it out
yep, those jazz fusion guys would have been some sort of influence, for sure..
we 3 of the group (bass player, drummer, myself) listened to all kinds of stuff..
but liked the progressive stuff too.
thanks for checking it out
Blaklynx
Well-known member
That was great. As much as everybody did great in this song, I'm sorry to say, the bass player takes the cake! Some real excellent playing.
And an Ibanez Artist, eh? LOVE them, no matter which model; vintage only, not re-issues.
I'm currently restoring an 83' AR30. Bought from the original owner. He sanded the color off the body; real bad with some dips/nicks and a little over-enthusiastic sanding in some areas...... Then he applied 6~7 coats of clear over the ENTIRE guitar except for fretboard. It was 2~3mm thick. There IS a story behind his madness but still........ I'll take photos to show the progress and then I'll post on a couple of sites, Jemsite, Ibanez Collectors World and so on.
Also own a '78 AR100 or 200/250. Not sure. Owner wasn't too sure either. I need to find out which model it is. If you're familiar with the Artist, would you mind helping me, if you can? You may know more about these 'vintage' era Artist than I do, hence me asking.
And an Ibanez Artist, eh? LOVE them, no matter which model; vintage only, not re-issues.
I'm currently restoring an 83' AR30. Bought from the original owner. He sanded the color off the body; real bad with some dips/nicks and a little over-enthusiastic sanding in some areas...... Then he applied 6~7 coats of clear over the ENTIRE guitar except for fretboard. It was 2~3mm thick. There IS a story behind his madness but still........ I'll take photos to show the progress and then I'll post on a couple of sites, Jemsite, Ibanez Collectors World and so on.
Also own a '78 AR100 or 200/250. Not sure. Owner wasn't too sure either. I need to find out which model it is. If you're familiar with the Artist, would you mind helping me, if you can? You may know more about these 'vintage' era Artist than I do, hence me asking.
blaklynx
thanks man.
it was a fun jam, for sure, you don't get to just screw around to your heart's content in a studio very often.
i think we jammed for close to 3 hours, and this was just an excerpt.
good lord, the description of what the owner did to that AR30..... ugh.
why?
LOL
why.....
as far as questions and answers, i do not know of a better place to stick one out there, than here:
http://www.ibanezcollectors.com/forum/index.php
thanks man.
it was a fun jam, for sure, you don't get to just screw around to your heart's content in a studio very often.
i think we jammed for close to 3 hours, and this was just an excerpt.
good lord, the description of what the owner did to that AR30..... ugh.
why?
LOL
why.....
as far as questions and answers, i do not know of a better place to stick one out there, than here:
http://www.ibanezcollectors.com/forum/index.php
the lazeria studio was a funky place....
around 1982, the band i had at the time, rented it for 2 weeks, as a rehearsal space for whatever the going rate for that was then.
it was fun, because we had carte blanche to the whole studio all day and night for 2 weeks.
the engineer, used us as guinea pigs while we rehearsed, he'd set up all kinds of mic arrangements and screw around with stuff in the control room, which was big enough for about 3 guys to sit/stand in, and that was it.
it really was 'a control room'….. with the requisite Lava Lamp.
LOL
i remember some really big JBL monitors, don't have a clue what they were.
basically, Lazeria was a long rectangular shaped wide open concrete block building, out in the middle of nowhere....
low ceiling, i guess about 10'.....
"shag rug" everywhere....very dead room…..sounded like recording steely dan records in there.
but the cool thing, was it was wired real smart.....with snakes strategically placed, separate headphone mixers, lots of booms and lots of gobos...
all the gobos had a carpet surface on one side, wood paneling on the other..and they were on rollers, they were easy to move and position. they were beefy, probably a foot wide. i'm guessing, 6' wide by over my head, maybe 7-8 feet tall.
you could build any size isolation area you wanted....so it was super flexible. You could make it a very reflective space, by using the wood panel sides.
the board this jam was recorded thru, was a 15 series teac, into a 85-16 16 channel 1" open reel tape deck...i thought it had a marvelous sound, the playback sounded so clean and sweet.
the guys that ran the studio, had built a bunch of unique one-off mics, basically they gutted different mics of their capsules and transformers, built these big plexiglass stretched-out-hexagonal shapes, and floated the mic capsules with wire, just above the surface of the plexi, using the plexi to 'capture' the sound waves.
my guitar, and the drums, were all captured with one of these weirdo homemade microphones.
later, the engineer dubbed us a cassette of the jam. don't know whatever happened with the reel to reel tape, probably got re-used.....
around 1982, the band i had at the time, rented it for 2 weeks, as a rehearsal space for whatever the going rate for that was then.
it was fun, because we had carte blanche to the whole studio all day and night for 2 weeks.
the engineer, used us as guinea pigs while we rehearsed, he'd set up all kinds of mic arrangements and screw around with stuff in the control room, which was big enough for about 3 guys to sit/stand in, and that was it.
it really was 'a control room'….. with the requisite Lava Lamp.
LOL
i remember some really big JBL monitors, don't have a clue what they were.
basically, Lazeria was a long rectangular shaped wide open concrete block building, out in the middle of nowhere....
low ceiling, i guess about 10'.....
"shag rug" everywhere....very dead room…..sounded like recording steely dan records in there.
but the cool thing, was it was wired real smart.....with snakes strategically placed, separate headphone mixers, lots of booms and lots of gobos...
all the gobos had a carpet surface on one side, wood paneling on the other..and they were on rollers, they were easy to move and position. they were beefy, probably a foot wide. i'm guessing, 6' wide by over my head, maybe 7-8 feet tall.
you could build any size isolation area you wanted....so it was super flexible. You could make it a very reflective space, by using the wood panel sides.
the board this jam was recorded thru, was a 15 series teac, into a 85-16 16 channel 1" open reel tape deck...i thought it had a marvelous sound, the playback sounded so clean and sweet.
the guys that ran the studio, had built a bunch of unique one-off mics, basically they gutted different mics of their capsules and transformers, built these big plexiglass stretched-out-hexagonal shapes, and floated the mic capsules with wire, just above the surface of the plexi, using the plexi to 'capture' the sound waves.
my guitar, and the drums, were all captured with one of these weirdo homemade microphones.
later, the engineer dubbed us a cassette of the jam. don't know whatever happened with the reel to reel tape, probably got re-used.....
