pic of Paul Franklin studio setup

chris ivey · Post by **chris ivey** » 27 Jul 2007 7:58 pm

..whatever......

Miguel e Smith · Post by **Miguel e Smith** » 27 Jul 2007 9:28 pm

Just to add a little something about the cartage factor, it’s not just a matter of luxury, but it’s very much a situation of logistics. In Nashville, sessions are scheduled on a 10am, 2pm, 6pm and 10pm basis with an hour off between the first three of those. The time between is theoretically built-in so a musician working at studio “a” will have time to get to studio “b” or have a lunch or dinner break if working at the same studio for multiple sessions. That hour really doesn’t give someone with lots of gear the time to tear down, load and then load-in and setup at the next studio, especially if the session is running over (common) or if the second studio is across town.

Cartage allows players to make sure they get themselves to the next gig in time and have their alternate setup waiting there (and maybe give you chance to grab a sandwich too). Cartage also arranges to have the first setup to be picked-up and be ready to go when needed next. Of course, all of this is based on the player being busy with projects that have the budget like John Macy was talking about. Trying to be your own equipment guy (roadie) with that kind of schedule will take a toll very quickly (not to mention making you late for many situations like multiple studio locations…not good for biz).

John Macy · Post by **John Macy** » 27 Jul 2007 9:38 pm

Even without an alternate setup, those cartage guys are fast--last time I used Paul, we finished at 5--cartage had his rig on the truck by 5:20 and he was setup and ready to go for a 6:00 with Rodney Crowell right on time down the street...

Hey, Mike--is the cartage as good in Phoenix as it is here in Denver?...

Tony Prior · Post by **Tony Prior** » 28 Jul 2007 2:10 am

Try doing three "3" hour sessions in one day at different studios around town without this service.

Practicality says you can't.

Jack Stoner · Post by **Jack Stoner** » 28 Jul 2007 3:00 am

A couple of years ago, I was at Paul Franklin, Sr's house visiting. It was in the morning and Paul dropped by. He mentioned he was "going to work" and that the cartage company had his schedule.

David L. Donald · Post by **David L. Donald** » 28 Jul 2007 5:31 am

Not to mention the time at studio rates wasted
for the player to arrive with his rig and set up.
No doubt the player gets more for the same time period
to be there, just setting up, than the cartage people to set it up in adavance.

And yeah, if your A list picker is fresh and rested a bit
and maybe fed, after the session he did 60 minutes earlier,
then you get better tracks sooner.

Certainly a bright room, I would have wanted
a bit more depth on the stones for more diffusion,
but it's a useful space for sure.

Miguel e Smith · Post by **Miguel e Smith** » 28 Jul 2007 10:38 am

Heyya John,

So obviously you’ve heard of the 5-star cartage service located here…spot-on I’d say! (hardi-harr-harr) Actually, for several years now we’ve been talking about hiring a young, strong lad who is dependable and music-wise to become a utility person…equipment (for our band but for me too), run lights and tweak house sound…maybe even drive a bit. We’ve got a local based sound/light guy who fits the bill and we’re going to find out soon if we can afford him.

For us it’s not as much about logistics as it is just wanting some help. Because I do consider it a luxury in my situation, I’m slow to move on it.

Cartage typically keeps equipment at a location convenient for them.

David mentioned the "fresh" factor which is important. I used to hire guys near the end of a long day because I didn't have a choice and even though they are wonderful musicians, it was obvious that the energy level was low. Times like those are when good ears especially come to play as little things are prone to sneak by. The musicians know it too and are usually not offended if you solo up some tracks to check (just be cool about it).

John Macy · Post by **John Macy** » 28 Jul 2007 7:21 pm

Hey David--

You'd be amazed at how even the difussion is in that room. You should hear a stereo mic in that room with the door open and drums being tracked outside in the big room--pretty impressive...

C-12 for a talkback--I should be so spoiled...

b0b · Post by **b0b** » 28 Jul 2007 9:02 pm

Tony Prior wrote:Try doing three "3" hour sessions in one day at different studios around town without this excellent service.

Practicality says you can't.

That sounds like too much work to me. Also too much music. I don't know how anyone can play music for 9 hours a day and maintain a creative attitude. It boggles the mind.

I can't even listen to music for more than 4 or 5 hours without getting burnt out.

John Macy · Post by **John Macy** » 28 Jul 2007 9:08 pm

I just got home from my 4th 12 hour day in a row recording, and I don't feel burnt out--tired maybe, but I still listened to a CD on the way home, too.

David L. Donald · Post by **David L. Donald** » 29 Jul 2007 12:46 am

Bet that CD was something quite different too.

I am building a space like that also,
just with the stones more 3D into the room.
And as few right angles as possible.

I want as many different basic sounds as possible,
then you can pick and choose.
A very live room can be deadened also,
a LOT easier than making a dead room live again.

I am sure Paul sounds quite full in this space.

I wonder if they are using the C-12
as a 'players point of view' source,
as well as the close micing on the cabs.
A little something extra to blend in.

Michael Douchette · Post by **Michael Douchette** » 29 Jul 2007 3:02 am

David L. Donald wrote:I am sure Paul sounds quite full in this space.

I wonder if they are using the C-12
as a 'players point of view' source,
as well as the close micing on the cabs.
A little something extra to blend in.

No, it's a talkback... and the "space" doesn't matter a whole lot when the mic is shoved right into the grille cloth... doesn't catch very much of the ambient sound color...

David L. Donald · Post by **David L. Donald** » 29 Jul 2007 7:26 am

I do see another mic behind the C-12,
but looks folded up.

I wouldn't want to bet against another mic
somewhere out of frame. I personally would want
to hear the ambience Paul is hearing also as
part of my mix structure.

James Cann · Post by **James Cann** » 29 Jul 2007 7:40 pm

That sounds like too much work to me. Also too much music. I don't know how anyone can play music for 9 hours a day and maintain a creative attitude.

I agree. With all due respect for those earning a living by their playing, and also for creative spirit, I suspect an agenda of either greed or desperation here.

Wow, that is quite an insult to all the fine, fine studio players I have been working with for many, many years.

I take your point, John M., and indeed offer my apology to them, you, and anyone who agrees with you.

Regards and thanks.

Alan Kendall · Post by **Alan Kendall** » 29 Jul 2007 8:11 pm

David L. Donald · Post by **David L. Donald** » 29 Jul 2007 8:18 pm

Or making hay while the sun shines.

If someone has a 9 hour Nashville gig schedual,
it is not 9 hours of playing.
It has lunch and dinner and travel and waiting,
and re-arranging, meeting n greetin, coffee breaks etc.

I can do 2 hours pickin' in the later morning,
2 hours in the afternoon,
and 2 after dinner and still be not burned out,
if I am not lifting and hauling amps and steels around.

Surely weeks on end of this wears thin,
but it can't be all year round,
some months are busier than others.

John Macy · Post by **John Macy** » 29 Jul 2007 9:49 pm

quote:

"With all due respect for those earning a living by their playing, and also for creative spirit, I suspect an agenda of either greed or desperation here."

Wow, that is quite an insult to all the fine, fine studio players I have been working with for many, many years. If you spent about 5 minutes with any of them, I think you would come away with a different point of view...not only are they among the cream of the crop musically, they are some of the finest humans to walk the planet that I know...

John Macy · Post by **John Macy** » 29 Jul 2007 9:53 pm

Hey David,

The CD was Joanna Newsom...different for sure...

PS--this was my 5th 12 hour stretch today--have an easy day tomorrow--3PM to midnight---guess I'm either greedy or desperate...

David L. Donald · Post by **David L. Donald** » 29 Jul 2007 10:54 pm

Most of us drop what we're doing to play good music.

SOME DROP WHAT EVER WE WERE DOING TO PLAY ANY MUSIC.
Some of us have gone through 2-3 wives from doing it...

Some of us are lucky and talented enough
to be paid good money, more than once a day,
to play great music that makes it on record.

Typically the personality of a great studio musician is,
helpful, willing, and easy going,
in addition to great and consistent chops.

It is a combination of these quailities,
AND their knowing their physical and endurance limitations,
that gets them the good studio calls.
The producers know they show up ready to perferm
at their proper level or they don't take the gig.

The moment they are taking extra gigs beyond their
strength levels is the time the calls stop coming.

So they also know to turn down gig 32
on day 15 of a month's schedule.
because they also know they will not
be able to give it their all on that date.

Joanna Newsom, gotta check her out.
Music you can listen to when you have
already heard too much music.

Actually just heard some of Milk-Eyed Mender
on Amazon.

Poor quality files, but it was like I
was transported back to 60's Pentangle
crossed with a 70's 'children's album'.
A very unqiue artist not AT ALL trendy
or caring about that a bit.
Gotta love the harp in any context.
But with the supurbly controlled yet
child-like voice it, is quite extraordinary.

I ordered Joanna Newsom Ys Street Band EP
And just to be twisted, accompanied by
Amy Winehouse Back to Black

Drew Howard · Post by **Drew Howard** » 30 Jul 2007 7:47 am

Jamie, thanks for posting the pic.

John and Mike, thanks for explaining the cartage system.

What's in PF's rack?

thanks,
Drew

John Macy · Post by **John Macy** » 30 Jul 2007 8:38 am

David--

We are (I have a 17 year old daughter) really into Y's and Amy Winehouse--think you'll like them. You might also check out Rachel Yamagata...very cool stuff...

Drew,

Things change of coourse, but Paul's rack in the past has always been based on the Boogie Studio Pre into a MosValve 500. Main delay has been the TC2290, which also has 5 programable effects loops built into it. Things I have seen in his rack have included a Peavey Valverb, the delay, modulator and filter rack versions of the Line 6 effects, a Digitech pitch machine (can't remember which model)... My racks are always evolving as most, so who know's what's in it right now...

Also, in his main cartage, but not in the photo above, is a big trunk with his other stuff like dobros, lap steels, pedabro etc... You can see a picture of that on my myspace page in my photos...

Hey, I heard the same cartage company that Mike and I use is opening a branch in your town, too...

Here is another pic from Oceanway studios..

Damir Besic · Post by **Damir Besic** » 30 Jul 2007 9:03 am

Jamie Lennon wrote:For interested this is Pauls Setup in the studio

thanks for the pic,this is first time I see Paul`s set up in studio.I asked him once if I could be at one of his session but he said I couldn`t.I was at the studio with Vassar Clements and Back Porch Swing Band and it was amazing,just sit there and watch and listen,what a treat.You are a lucky man Jamie..thanks for the great pic

Db

James Cann · Post by **James Cann** » 30 Jul 2007 2:22 pm

Earlier post revised.
Thanks.

David L. Donald · Post by **David L. Donald** » 30 Jul 2007 6:49 pm

Most sessions are closed,
even if you are the cartage company staff.
Go in, set up, get out, return and pick up.
Even if it means waiting another
hour for a non-booked extention;
you wait in the lobby.

You can always be at one of Paul's sessions.
You just have to pick a song and throw money at it.

John, my sister played me some Amy W. on her iPod
while she was here, fun stuff.
I had seen pics and read of her, but never heard anything.
A definite character.

What a conceptual gulf we traverse between Amy and Joanna!
Previous CD for me was Jackie McClain 1957...
Not schizophrenic, I swear!

Don Drummer · Post by **Don Drummer** » 13 Oct 2008 7:23 am

I got to record in Nashville at the Tracking Room with Taylor Made. Theyput my amps in this room called the "Rock Room". It seemed like I had seen it before but for the life of me couldn't figure out why. I played in the big room with the bass player and drummer. I can see why it would be nice to be isolated in this room with head phones and amp audible at the same time. WE had a great time and a great engineer The project was three x mas tunes by the trio and the whole band. Much thanks to Dan Mitchell for including tne local [ WVA] guys. Look for ot on WE BLAST.COM. Don D.

The Steel Guitar Forum

pic of Paul Franklin studio setup

Re: pic of Paul Franklin studio setup

Paul Franlin's studio set up