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The purpose of the Guitar Nine Records' Home Studio Registry is to allow owners and users of home/project studios to communicate with other musicians who are doing similar projects and work.
Far from being the solitary musician locked in a spare room with a bunch of expensive toys, you will finally be able to hook up with others who have many of the same dreams and aspirations as you do.
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| Richie E. Irby's Studio Details
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I wanted to give people an opportunity to record and put out a project,without having to sell their children to pay for it.
E-mail: Click To Send E-mail
Main purpose: Composition
Secondary purpose: Recording
Recording knowledge level: Above average
MIDI knowledge level: Above average
Typically work (with): Co-writer
Completed songs/demos/jingles: 21-40
Future plans: Start and operate a production company,to help gospel artists who can`t afford the high cost of getting into the music industry.
Guitars: N/A
Keyboards: Korg X3,Korg M1,Korg N5ex,Korg Triton
Sound modules: N/A
Percussion: Korg X3,Korg N5ex,Alesis SR16
Effects: All on my pc
Microphones: Rode NT-1
Mixer: Peavey RQ-200
Tape decks: Pioneer mixdown deck,Sony DTCZE-700 dat deck,Sony MDS-300 Minidisc deck
Hard disc recorders: N/A
Monitoring system: Sony poweramp,JBL studio monitors
Computers: Pentium 400mghz,128 mb Ram,30gb harddrive
Music software: Data Becker pro recording,Magix v2000 and Magix v200deluxe multitrack and processing recording,Cool Edit Pro,Cakewalk Pro9
Other equipment: N/A
Comments: I wanted to give people an opportunity to record and put out a project,without having to sell their children to pay for it.I also want to help the record industry discover artists they seemed to have looked over,or never looked at.If the industry won't produce them,then I will.Not trying to take over the industry,but there are artists out there,that the industry feels that they can't make any money off of.That's what I'm counting on,and that's the artists I want.
If you are Richie E. Irby and you want to update your listing, click here.
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Vol. 17, No. 2: Feb.-Mar. 2012
