Home Studio Registry: Robert A. Hendrix

Primary use Secondary use Recording knowledge level MIDI knowledge level
Recording Practice/Rehearsal Above average Average
Commonly work (with) Completed songs/demos/jingles
Alone 21-40

Future plans/projects

CD of jazz standards and short excerpts for on-line, MP3 demos.

Guitars

Guitars: 
Ovation 2000 Collectors acoustic-electric and Ibanez Artcord Archtop, 2-pickup electric-acoustic with quiver bar - the preamp and built-in tuner on the Ovation can run off phantom power from the Kustom PA if using XLR balanced input plugs; Samick Greg Bennett 4-string acoustic electric bass guitar; Angelica flat top acoustic (mostly for slide guitar).

Keyboards

Upright Baldwin piano; Yahama PSR1500 synthesizer with MIDI.

Effects

Boss OC-3 Octave guitar effects Pedal (see general comments below); BOSS RC-50 Loop Station.

Microphones

Audio Technica 3035 Condenser Studio Microphone with shock mount - requires power source 11-52 volts; Audio Technica AT835b Shotgun Microphone (which requires 9-52 volts DC phantom power or 1.5 volt AA battery) and several workhorse dynamic microphones

Mixing

Sony 6 Channel MX-14 microphone mixer (12V DC input - a universal AC-DC adaptor can be used)

Tape decks

Recording of stereo, digital signals is done into a computer; this is generally limited to single takes without overlay of tracks for philosophical reasons

Hard disk recorders

Tascam CD RW 700 (CD burner)- this can patch directly into and out of the Kustom PA. The Tascam can be controlled entirely by a quiet, hand-held remote.

Monitoring

Kustom Profile System One PA: 5 channel with standard guitar jacks and XLR inputs, digital effects for reverb and chorus and 15 volts phantom power to power the condenser mic

Computer

Most any laptop can be used with appropriate software so specification is not critical.

Music software

Cakewalk Audio Pro 9 with 128 virtual tracks

Additional equipment

Audio Technica ATW-RO3 Guitar Wireless System with an ATW-T27 Body Pack for a guitar; Autoharp, tambourine, orchestral stands, etc...

Comments

My gear is for producing my own arrangements of jazz and blues standards from 1920 to 1965, and some original compositions as 'Coyoteman Hendrix' and more recently as "Vox Kojote". I perform these in solo gigs, "chanson style" with solo vocal and guitar. For recordings and performance, I have enjoyed a staight, 'unplugged' acoustic configuration using the AT835b Shotgun Microphone as an instrument mic as well as my AudioTechnica 3035 Conderser mic for vocals - both these function off the 15 volts phantom power from my Kustom Profile System One PA. In addition, the setup I have used most recently exploits the DUAL OUTPUT of the Ovation acoustic-electric guitar: (1) for the unadulterated acoustic sound, I run a standard (low Z, 3 conductor) XLR cable from the guitar to the Kustom PA system (which provides phantom power to the guitar) or play with a true acoustic sound into the AT 835b Shotgun Microphone; (2) for a bigger guitar sound, I use the ATW-RO3 Guitar Wireless System (which allows me to do a gig completely free of material connections between my guitar and the system) or I run a 1/4" standard guitar cord(phone jack with mono plug) from the guitar to the OC-3 Octave pedal. I set the Octave pedal on "polyphonic" so I can play full chords with harmonic effects. the OC-3 produces a direct (unaltered) output and a "bass" output. I run TWO short standard guitar cables from the two outputs of the OC-3 to the stereo volume pedal; from the volume pedal, I run TWO standard guitar cables to two different channels on the PA. This setup allows me to play with a balanced acoustic sound when accompanying my own vocals, but when I play an instrumental section as for an introduction, solo or simply guitar licks, I can lean on the volume pedal and get a fat, rich, interesting guitar sound with bass sounds 1 octave below the guitar.