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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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| Shawn Fallahi's Studio Details
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Try to see the forest from the trees, it's been hard to concentrate on writing, when so many other concerns are present.
E-mail: Click To Send E-mail
Main purpose: Demos
Secondary purpose: Composition
Recording knowledge level: Average
MIDI knowledge level: Average
Typically work (with): Alone
Completed songs/demos/jingles: 5-20
Future plans: I`m in the process of putting it all together. So much to learn and play with. Actually, some of my inital set-ups came out sounding great! I was surprised (as were some of my more experienced friends). Influences range from PinkFloyd to AliceInChains to Brahms, Bach, Zappa, Genesis (old), Ian Moore, KingCrimson, and others! Doug Johnston - I owe you a lot of credit too!!
Guitars: MexicanStrat (got rid of my US Strat `cause this one sounded much better! Old Charvel custom built Chris Risolla (CA). Yamaha APX-4 (plugged in and miked with AKGC1000s). Washburn Bass (P-Bass style)
Keyboards: Alesis QS6 - for the etherial sounds and layers
Percussion: Yamaha Stage-series (13 years old!), Zildjans, Paistes, PureCusion snare
Effects: Alesis Midiverb 4 - it`s "ok"
Microphones: Shure sm57, Samson sm58 clone, akgc1000s, akgda30, need more!
Mixer: Waiting to get the new Akai DPS12
Tape decks: Some kind of Technics - sounds good!
Hard disc recorders: PC hard drive for synth stuff
Monitoring system: Alesis ra-100 pwr amp, event 20/20 near-field reference monitors
Computers: 200MHz pent, PC
Comments: Try to see the forest from the trees, it's been hard to concentrate on writing, when so many other concerns are present.
If you are Shawn Fallahi and you want to update your listing, click here.
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Vol. 17, No. 2: Feb.-Mar. 2012
