The Low Country. From left to right: Anja Dove, Rob Jackson, Emily Barker and Alex Machell.
Since we started our Readerzone articles four years ago, intrepid SOS reporters have been all over Britain in search of interesting readers' studios to feature. This month, we're a lot closer to home. Rob Jackson is a Geordie by birth, but for the last few years he's been making music in and around the fair city of Cambridge, not five miles from the Sound On Sound offices.
Rob is primarily a guitarist, and has developed an unusual electric style based around the EBEABE tuning, using string-benders to achieve a sound that is sometimes reminiscent of a pedal steel. As well as backing local luminaries like Boo Hewerdine and the Broken Family Band, he also plays solo instrumental pieces using a Line 6 Delay Modeler to create looping textures in a haunting style he describes as 'Celticountry'. His latest project is a band called The Low Country, with a sparse, American sound that calls to mind the likes of Lucinda Williams and Low. "The mission was fairly simple, in that I wanted to form a group that would play very mellow country-type music, hence the name," explains Rob. "My only other preconceived ideas were that there would be no drums and that we would use strings, bass, electric and acoustic guitars. The style of the music and the format of the band meant that we were looking for a very special singer and we found that in Emily Barker who's a genuine country girl, albeit from Australia. Not only does Emily have a great voice, but she also has an extraordinary talent for really feeling the song and singing it like she's lived every line. We're very lucky to have her. Then we have Anja Dove who handles all the string parts [using a Bridge electric violin for live work], myself on electric guitar, and we've just found a bass player, Ale
PC running Windows XP Pro.
Cakewalk Sonar v1.3 MIDI + Audio sequencer.
IK Multimedia T-Racks mastering software.
Sonic Foundry Sound Forge editor.
M Audio Audiophile 2496 soundcard.
M Audio SP4B Studiophile monitors.
AKG C3000B, Audio-Technica ATM33a and Shure SM57 mics.
Joemeek MQ3 and VC3 preamps.
Rob's demos for The Low Country have already been aired on John Peel's Radio One show, and like his solo recordings, are all the more impressive when you consider the modest setup used to create them. Rob has had a home recording setup of one sort or another for years, but he's never gone down the four-track route. "I've played guitar since I was about 13 and I remember doing the two-tape-cassette-recorders thing fairly early on bouncing tracks back and forth until it became total mush," he remembers. "That was my principal composition tool for quite some time actually, then I went straight to a fairly elaborate MIDI sound-module-based setup using the old Yamaha CX5 computer. I spent several years tinkering with that pretending that I was going to do the music for the next James Bond movie while paying off an enormous credit card bill!"
These days, the CX5 is long gone, but Rob's early experience with computer-based recording hasn't put him off. A fast Windows XP PC running Cakewalk's Sonar MIDI + Audio sequencer is now Rob's main recording tool, with a Joemeek MQ3 input channel and M Audio Audiophile soundcard supplying the rest of the signal chain. The studio space, such as it is, is simply a corner of his living room.
Rob's unusual guitar technique and setup contribute to his distinctive sound. "I've sort of painted myself into a corner with my guitar, such that I can't really play a normal one any more," he laughs. "My number one squeeze these days is a '78 natural Telecaster. I love it. It weighs a ton and sustains for days. I've got two string benders on there operated by palm levers with my picking hand on th
Rob In The Round
The high point in Rob's solo career so far is an appearance at a sold-out Royal Albert Hall, where he supported British soul singer Paul Carrack. "I did have to psych myself up a lot for that gig, I confess!" admits Rob. "I could have gotten very stressed worrying about what fans of a hugely popular soul singer were going to make of my mellow little instrumental guitar doodles, but you know, what I do the music itself isn't a joke, even if I do sometimes present it in a light-hearted way. A truly pivotal point was realising that if I can't pull this off what some might consider the ultimate gig and present my music without nerves turning everything into a mess, then what's the point in playing music for the public? The Albert Hall audience were suprisingly kind to me as far as I could tell, and I think I played OK. We sold loads of CDs, anyway!"
To go with his Telecaster(s), Rob has also amassed a fair collection of amps, ranging from a tiny Tokai transistor model to a vintage Fender Vibrolux, but these are used only on gigs. "For the most part, miking up an amp just isn't an option for me," he says. "I record at home and while I really like the sound of tube amps, especially old Fenders, the problem, as you know, is that you've got to get them cooking a bit before nice things happen tone-wise. The neighbors just don't appreciate arguments about having to push a non-master-volume valve amp into natural distortion! So, I've been using the Award Session JD20 for a few years now and I really like it. It's got good drive and EQ controls plus a nice speaker emulator. More recently, I've discovered that by adding a little Maxon Compressor in front of the JD20, you can get a pretty passable imitation of a tube amp's natural sag it certainly feels like it when you play. Finally, I stick a lo-fi Maxon Analog Delay pedal at the end of the chain set to provide a soft muffled slap-back. To my ears, that was the icing on the cake as it makes it sound just like a really badly miked cab in a horrible room! [he laughs] Sometimes I'll add an Electroharmonix Holy Grail reverb in there if I need to interact with the reverb ef
For recording acoustic instruments Rob has an AKG C3000 condenser mic, which he uses on violin, placing it around 12 inches from the sound-holes. Perhaps surprisingly, however, he sometimes prefers to use a Shure SM57 dynamic for acoustic guitar: " It varies a little bit. On a couple of tracks with The Low Country, we've recorded the vocal and acoustic at the same time and I'll use a SM57 for the guitar. All the acoustic on my own CD was recorded with that mic, even the solo pieces I really like that grainy approximation of the actual sound you can get with the SM57 a bit like the charm of an old black and white photograph. For a bigger, authentic and more lively sound, I record the acoustic in stereo using a pair of Audio-Technica ATM33a condensers. I much prefer doing that to get an engaging stereo spread from the guitar than say, double-tracking the part. I used to do that a lot, and while it can obviously work well for some stuff, it somehow feels wrong for what we're doing in The Low Country."
Stacks Of Tracks
Rob is in the process of recording his third solo album: his first, So Low, was a largely acoustic affair, while Wire, Wood & Magnets showcased the layered electric guitar pieces he performs live. The recorded versions are created in quite a different way from their live counterparts: "It's generally quite different, although when I record, I might start with a loop and hang parts off that just to get the track going. I'll also add acoustic to the recordings for more tonal variety. Live, I only use the electric and tend to play very clean, using very few effects, often just the Line 6 itself. For the solo CD, I felt the need to make it more interesting sound-wise, so I used a lot more effects. For those recordings, I just kept stacking up parts and sounds by jamming along, and keeping the stuff I liked. Then I started stripping it all back so the notion of some kind of arrangement took shape. My first solo CD was all done with a fairly cheap soundcard, and somehow, everything ended up sounding a bit grainy sort of like a digital remaster of an old analogue recording gone wrong. Having said that, I grew to like it over time. My newer solo recordings are much better thanks to a software and hardware upgrade.
"I'd used Cakewalk for years, and of course Sonar had to follow. What I love about Sonar right now is that it never seems to crash on my PC. I only do audio a
Everything is mixed entirely within the PC, using the stock Cakewalk plug-ins, including the basic reverb and EQ. "I've found I can get the sounds or make the adjustments I want using those basic tools," explains Rob. "I'll admit, I've never compared the ones I use to the ones that people would say are better. I guess it can get a bit like replacing the stock pickups on your Telecaster! I think it helps when you're only using the effects in a subtle way, like rolling off a little high or low end or whatever. On the more recent recording project with The Low Country, I'm mostly going for a more old-style retro sound, so it's a good thing when those reverbs aren't super-realistic or whatever it becomes part of the sound, so I just fiddle around with the parameters until it sounds good to me. I actually spend quite a bit of time making things sound less than pristine. I've just discovered that the Tape Simulator plug-in can do quite nice things with emulated saturation for example I've used that on almost everything except the vocals. It really makes the guitars sound like they were recorded loud."
The final stage in the recording process is mastering, when Sonar gives way to Sonic Foundry's Sound Forge editor and IK Multimedia's T-Racks mastering suite. "I really like T-Racks," says Rob. "I mix down from Sonar and create a 24-bit file which T-Racks can handle. I generally like to roll off the extreme low end so the speakers aren't struggling to pump out stuff you can't actually hear it's not like we're a dance act. I also use the compressor on the overall mix plus a little of that stereo enhancer that's very cool so long as you don't overdo it. For some reason, if you do, and your stuff gets played on the radio, it sounds a bit weird. The limiter's good for grabbing the really bad spikes that I've missed during audio edits, although I will generally go back and fix those if I see the needles on T-Racks pumping excessively. I only use Sound Forge to top and tail and normalise. Then I'll burn a reference CD-R and do the usual thing of listening to it on as many different setups as possible hi-fi, ghetto-blaster, Walkman, and so on. Then I make notes of things that I think should be changed and go back through the whole cycle. For a track for The Low Country, I'll do that five or six times on average, before I decide to let it go."
"I do like the Delay Modeler, although I use it very primitively. The revelation for me was that you can effectively double the length of your loop time up to about 28 seconds if you forego some other feature that I've already forgotten. That made it usable for me as a looping tool. It's also neat that you can have a separate normal delay line available, so I use that too, for rhythmic stuff and volume swells. If someone like Line 6 were to listen to someone like me, all I'd ask for is the same floor unit, but as a dedicated looper without all the other delay models, with more loop time, say a minute like on the Echo Pro, and tap tempo on the other delay. Then I'd be 100 percent happy with it. The Line 6 guys must read this magazine, right? Good, I'm waiting then!" What of other guitar effects? "I really love tremolo," says Rob. "Like everything else, you go through this quest for the killer pedal for that particular effect. Of course, it's highly subjective, but I think I've found mine, which is the Demeter Tremulator. It's based on a Fender black-face amp and it was designed for Ry Cooder, I think 'nuff said really. It does something nice to the highs seems to take some of that top-end harshness off, which is handy when you DI the guitar for recording all the time, so I'll often use it with the depth turned almost all the way down. I also really like the Marshall Vibrotrem and that's all over my solo CD. For the mentalist washes of noise, I'll use the distortion channel on the JD20, which gives a very authentic Vox-type crunch. I've also been using an Analogman Juicer, which is his version of the old Dan Armstrong Orange Squeezer. I tend to use that more live for country-type gigs, but I've found it's really cool for recording my little Musicmaster bass of all things."
Loops & Layers
In his solo performances and sometimes on recordings, Rob creates rich, multi-layered textures using a sampling delay pedal. His current favourite is the Line 6 Delay Modeler, but he's been through most of the available units. "I started out using the Akai Headrush, which pre-dates the Line 6," he explains. "After that, I went power-crazy and got the Gibson Echoplex Digital Pro. The EDP has so many features it can be a bit overwhelming, especially as I'm not really a looping expert like some guys you see, setting up different banks, reversing, half-speeding and so on. I use the looper like my brain about 2 percent of the available features! All I really want to do is play a bunch of chords, loop that, then play a little tune over the top of it. For what I do, I can throw the Line 6 in my gig bag and I don't have to carry a rack around.
"I do like the Delay Modeler, although I use it very primitively. The revelation for me was that you can effectively double the length of your loop time up to about 28 seconds if you forego some other feature that I've already forgotten. That made it usable for me as a looping tool. It's also neat that you can have a separate normal delay line available, so I use that too, for rhythmic stuff and volume swells. If someone like Line 6 were to listen to someone like me, all I'd ask for is the same floor unit, but as a dedicated looper without all the other delay models, with more loop time, say a minute like on the Echo Pro, and tap tempo on the other delay. Then I'd be 100 percent happy with it. The Line 6 guys must read this magazine, right? Good, I'm waiting then!"
What of other guitar effects? "I really love tremolo," says Rob. "Like everything else, you go through this quest for the killer pedal for that particular effect. Of course, it's highly subjective, but I think I've found mine, which is the Demeter Tremulator. It's based on a Fender black-face amp and it was designed for Ry Cooder, I think 'nuff said really. It does something nice to the highs seems to take some of that top-end harshness off, which is handy when you DI the guitar for recording all the time, so I'll often use it with the depth turned almost all the way down. I also really like the Marshall Vibrotrem and that's all over my solo CD. For the mentalist washes of noise, I'll use the distortion channel on the JD20, which gives a very authentic Vox-type crunch. I've also been using an Analogman Juicer, which is his version of the old Dan Armstrong Orange Squeezer. I tend to use that more live for country-type gigs, but I've found it's really cool for recording my little Musicmaster bass of all things."
Cowboys Slowly Riding
Recording The Low Country was a rather different challenge from Rob's solo material. For one thing, the band's music is largely acoustic and pretty delicate, yet Rob's living-room 'studio' doesn't really offer many options for keeping the PC and its intrusive fan noise out of harm's way. How much of a problem is this? "Well, there's where you get a kick-back for using a dynamic mic," he laughs. "We recorded all of this stuff in the same room as the PC, and I managed to screen out a little PC fan noise, which I should really look
The signal chain for Rob's DI'd electric guitar: Maxon Compressor, Demeter Tremulator, Award Session JD20 preamp and Maxon Analog Delay.
Another problem was recreating the feel of a live band performance, when the songs were actually being built up in layers through overdubbing. "For the first batch of Low Country demos, we mostly tracked guitar and vocal at the same time. It was a problem down the line, but I just had to go with it and concentrate on making sure Emily was comfortable enough to give a good vocal performance as she was more used to singing and playing at the same time. So there was quite a bit of spill between the acoustic and vocal tracks but I just worked with it. As Emily is a singer at heart, rather than an egomaniacal guitar player like myself, she was very good at overall song dynamics, so she wouldn't be scrubbing away on her acoustic during the delicate quiet verses for example."
Faced with the problem of capturing a tight but live feel when recording a slow ballad through multitracking, Rob hit upon an interesting solution. "On the more recent stuff, we've done the vocals separately, and on a couple, we played to my home-made click tracks. I think it's really important to establish the feel of the song first, as we don't have any percussion in there. Our version of 'Oh! Susanna' is a good example, especially as it's the slowest version you will ever hear! Now you don't really want to be singing that over a click hammering down precisely on every beat of the bar with military marching-band precision ,do you? So what I did was loop four bars of me hitting the guitar strings through the Line 6 in a sort of boom-de-chock swaggering type pattern imagine a scene from an old western with the cowboy slowly riding into town. I'm sure there's a better way to do this, but it worked. That silly little loop is what gives the song its feel, but of course we never actually used it in the finished mix. When we play that one live, we all have to imagine our little cowboys slowly riding into town."
If you want to check out Rob's music for yourself, you can hear the cowboys riding into town at www.the-low-country.com.