It’s hard to believe that it’s been 20 years since Zakk Wylde replaced the late, great Randy Rhoads in Ozzy Osbourne’s band. Even though there were a couple of
Thinking back to the early eighties, I remember when Randy Rhoads played guitar for Ozzy and how in awe we all were of Randy’s techniques on those two ground-breaking records, Diary of a Madman and Blizzard Of Ozz. When Zakk came along everyone was wondering how anyone would be able to follow in Randy’s footsteps, but Zakk proved himself to be worthy of the task and then some. In 1992, when I saw Zakk at the Coconut Teaser in L.A. with his southern rock band, Pride and Glory, I was able to see what an amazing showman he was, and hear his great vocal talents as well. I later picked up a Randy Coven album with the song, “I Wish” on it and there was Zakk singing his heart out, sounding very much like Gregg Allman. Later, in the nineties, he formed the heavier-than-thou band, Black Label Society, and has released eight albums with them, most recently Shot to Hell.
I had the pleasure of rapping with Zakk on the phone about everything from his three kids to recording Shot to Hell and beyond.
Where was Shot to Hell recorded?
We used Ameraycan Studios in North Hollywood.
What is your typical guitar and amp setup?
For guitars, I’ll bring the Les Paul and the Rock Replica Randy Rhoads polka dot V guitar made by GMW Guitar Works that I like to use on solos. I will also use a 12- string and 6-string acoustic – I bring the whole arsenal.
I like to go through different amps to see what works, but I’ll usually use just one. I’ll bring the Marshall JMP, JCM800 and JCM2000, but usually use the 800. I will also bring a Roland JC-120 Jazz Chorus. You bring all your crayons with you; it’s not like you’re going to use all 64 of them, but if you need them, they’re there.
Any pedals you can’t live without?
I have a milk crate full of all sorts of pedals. I always bring my pedalboard that I use live. The Dunlop Chorus pedal, the MXR ZW-44 Wylde Overdrive Pedal, the Van Halen MXR Phase 90, the Dunlop Uni-Vibe and the Dunlop Wah pedal. Whether it’s for Ozzy or Black Label Society, they all work great for me.
What are your main axes?
I leave the “Holy Grail” – my original 1981 custom Les Paul – at home now. I use the Gibson Signature Bullseye Flying V with EMG pickups and my Custom Les Paul.
Did you record the album analog or digital?
It’s recorded all analog. We didn’t rehearse; we just went into the studio and wrote the record – that’s where all the magic happens. We’ll then dump it into ProTools if we need to shorten it or copy and paste. We record the whole album in one shot, then dump it down digitally. Back in the day, when we recorded everything on analog, if you had to edit something you had to cut tape and if you made a mistake you were screwed.
What about mics?
I like the Shure SM57.
How did you come up with the cover of the nuns playing pool and hanging with the devils inside the booklet? And that close-up of you in full devil makeup?
A buddy of mine owns a bar in Santa Clarita, and the people at the photo shoot were like someone’s grandmother or grandfather. They were just hanging out having a great time posing for these pictures, and we were all drinking all day and laughing hysterically at these characters. They were great people to work with and we had a lot of fun doing it. The next day, I woke up on the sofa with my makeup still on – the horns still stuck to my forehead – and when my little boy saw me he starting touching the horns on my head and screaming, “I want my daddy back!” I probably ruined him for life. That will win me the Father of the Year award in Good Housekeeping!
You can check out Zakk Wylde and Randy Coven’s great rendition of Stevie Wonder’s “I Wish” on the compilation Guitar Masters, Vol. 1.
Brian Tarquin
Emmy Award Winning Guitarist Brian Tarquin scored a Top 20 hit in the nineties with “The Best of Acid Jazz, vol. 2” on Instinct Records and enjoyed several top 10 hits on the R&R charts. Founder of the rock/electronica band, Asphalt Jungle and has scored TV music for such shows as, CSI, Smallville, MTV, Alias, 24, All My Children and many others.
bohemianproductions.net
jungleroom@optonline.net
myspace.com/bohemianproductionsmusic
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Be sure to locate your sample library where it can be quickly referenced on your DAW.
Improve your recordings using your own samples. Bryan Clark, house producer at Nashville’s Blackbird Studio, tells you how to take the final steps in building your own sample library.
Mastering the sample import process in your chosen DAW can significantly enhance your creativity and streamline your workflow. With a clear understanding of the tools and techniques available, you will be better equipped to bring your musical ideas to life and make your productions stand out.
This month, we finish up a three-part series on creating your own sample libraries. In this final installment, I’m going to give you the basic ways to import your samples into various popular DAWs. Each one has its unique workflow and user interface, but the fundamental process remains very similar. This Dojo guide will cover how to import samples into Ableton Live, LUNA, Logic Pro, Pro Tools, and Studio One.
Ableton Live
Steps to Import Samples
Drag and Drop: Simply locate the sample file in your computer’s file explorer, then drag and drop it directly into an audio track in the session or arrangement view.
Browser Window: Use Ableton’s built-in browser (on the left-hand side). Navigate to the sample’s location on your hard drive, then drag it into the workspace.
Create a Simpler or Sampler Instrument: Drag the sample into a MIDI track with Simpler or Sampler loaded. This allows you to trigger the sample using MIDI notes.
Tips: Use the warp feature for time-stretching and syncing samples to your project’s tempo.
Organize your samples into collections using the “Add Folder” option in the browser.
LUNA
Steps to Import Samples
Drag and Drop: Drag the sample from your file explorer directly into the timeline. Then hold the CTRL key down, click on the end of the loop, and drag it to the length it needs to be.
Browser/Workspace: Use the media browser to navigate to your sample’s location on your hard drive. Drag it into an audio track in your session.
Audio Track Import: Right-click on an empty area in the timeline or a track and select “Import Audio” to locate and add your sample.
Tips: Use LUNA’s built-in varispeed capabilities to match your sample to the session’s tempo.Logic Pro
Steps to Import Samples
Drag and Drop: Drag the sample from the Finder directly into an audio track in the workspace.
File Browser: Use the file browser (accessible via the media sidebar or “F” key) to locate and drag samples into the timeline.
Quick Sampler: Drag your sample onto a MIDI track with the Quick Sampler plugin loaded. This lets you play the sample chromatically.
Tips: Use Logic’s flex time feature to sync samples to your project’s tempo. Organize samples into Logic’s library for quick access.Pro Tools
Steps to Import Samples
Import Audio Dialog: Go to File > Import > Audio; then locate your sample and click “Convert” or “Add” to bring it into the session.
Drag and Drop: Drag the sample directly from your file explorer into an audio track.
Workspace Browser: Use the workspace (accessible via Window > New Workspace) to locate your sample. Drag it into your session.
Tips: Use the elastic audio feature for tempo matching and pitch adjustments.
Place your samples into playlists for efficient access during editing.
Studio One
Steps to Import Samples
Drag and Drop: Drag your sample directly from your file explorer into the timeline or browser.
Browser: Open Studio One’s browser (on the right-hand side), navigate to the folder containing your sample, and drag it into your project.
Sampler Track: Drag the sample onto a MIDI track, and use the Sample One sampler for additional manipulation.
Tips: Enable the “Stretch Audio Files to Song Tempo” option in the browser for automatic tempo synchronization. Create sample folders within Studio One’s browser for quick access.General Best Practices
Regardless of the DAW you use, it is important to maintain a smooth and efficient workflow. Organize your sample library with clear folder names and categories to make locating files easy (see last month’s installment for detailed strategies). Where possible, learn DAW-specific shortcuts for importing and editing samples to save time. Always check if your DAW offers a feature to sync the sample’s tempo to your project to ensure seamless integration. Finally, regularly back up your sample collection to avoid losing important audio files and preserve your creative assets! Seriously. Do it now.
Next month, we’re off to “console” land and I’ll be investigating console emulations (hype or not?), summing bus processors, and more to give you a more “studio” sound. Until then, blessings and namaste.
Stretching the boundaries of reverb’s realm through dynamic and pitch control.
Nice core reverb sounds. Invites cool compositional and arrangement directions. High quality.
If you lack patience, it will be hard to unlock its coolest secrets.
$329
Gamechanger Audio Auto Reverb
gamechangeraudio.com
When the first Moog synthesizer appeared, it freaked out a lot of musicians—not least for the way it blurred the divisions between instruments and their roles. Was it percussion? A keyboard? A reed instrument? Many effects makers build from this philosophical foundation. The Latvian company Gamechanger often seems to revel in it—an attitude that’s manifest in the company’s Auto Series pedals, which includes the Auto Reverb.
There’s no reason you can’t use the Auto Reverb in a very straightforward fashion. The plate, spring, and hall settings are all very nice digital representations of their analog inspirations—and I’d be perfectly happy playing an instrumental surf set with the spring mode, for instance. But because you can control the parameters like the reverb’s level, decay, tone, and the filter with changes in pitch and dynamics, the Auto Reverb can function in highly orchestral ways, transforming itself from subtle to outlandish as a musical piece shifts in intensity or rises from low to high keys toward a blurred, hyper-spacious climax. While these attributes make the Auto Reverb a great fit for prepared guitar and conceptual pieces—and invites many themes and compositional ideas within those forms—it can just as easily be configured to create an especially dynamic and dramatic pop song arrangement on stage or in the studio that might otherwise be relegated to automations within a DAW. It’s fun to use, if not always intuitive. But knowing its ways can expand your musical options significantly.
Black Sabbath to Reunite for First Time in 20 Years—Ozzy Osbourne’s Final Performance
The original Sabbath lineup will reunite on July 5 in Birmingham, England, and be joined by Metallica, Pantera, Slayer, and more.
The concert will feature founding members Tony Iommi on guitar, bassist Geezer Butler, drummer Bill Ward, and singer Ozzy Osbourne. Profits from the show, called "Back to the Beginning," will be donated to charities including Cure Parkinson's.
On future Black Sabbath plans, Ozzy's wife, music manager, and TV personality Sharon Osbourne had this to say (via Reuters) about Ozzy: “While other bandmembers might continue to make records and perform, Black Sabbath's gig at the birthplace of the band will certainly be the 76-year-old's final performance.
"For Ozzy right now, it's definitely: 'I love you and good night'," she said.