there’ s a thousand presets in this box. Well how does your brain even process all this?
So, we’ re trying to create something that will help to simplify all of that. As well as some training to help get people back to the basics of great tone. I think everyone should try running all their amps through the same cabinet and learn them, learn what your amp really does. Even if it’ s a capture or model, each amp has a feel and response and character that needs to be learned by the player. It’ s so difficult to know if you’ re constantly jumping rig to rig to rig. But you look at guys like Tom Bukovac or Jerry McPherson, they’ re largely running just through one cabinet, and they just have an amp switcher with a few amps.
And then they know how to mic that cab differently for the different things they want to do. Redwirez( we’ ll probably change the name by the way), will give you a virtual environment to do that.
[ WM ] Okay. Dig it. And then lastly, I was hanging out at NAMM talking with the Universal Audio people and I said,“ So do you have any worship artists that you’ re working with? And they said,“ Yes, we worked with Lincoln Brewster.” Tell us how you first met them, what you started using and what are you using now of gear from Universal Audio?
[ Linc ] Yeah, so I’ ll say a few things. Universal Audio is one of those companies that has already had so much respect for high quality and have always been serious about top shelf gear. I remember when I started using Pro Tools and digital audio workstation stuff there were some companies that had come out with hardware model plugins, SSL, Neve etc. There was a lot of debate over,“ Does it sound like the original?” Is it good? Is it?
And I’ ll never forget this, when UA got in the plugin game, it was like it made it okay for everybody because everyone knows that UA is a top tier, no compromises, best of the best company. Everyone was like,“ Oh, UA has plugins.” I remember it being like,
“ No way, OK, this is legit.” They worked with the manufacturers to use the names and painstakingly modeled great pieces of gear. They’ ve just done a tremendous job on every front from the get-go. I mean look how many really big-name engineers are like,“ Those are my go-to.” They were just instantly … they kind of validated that idea that you can get, in my opinion, for all intents and purposes, as good of a result with virtual stuff as you can with vintage stuff. And I think it just comes down to a question of what do you enjoy and what can you afford? There’ s a great video of Jaquire King recording a band with a virtual version and then the exact hardware setup of actual gear. He did it. I mean he was using multiple channels of 1073s and 1084s and all this stuff. And LA2As and 1176s, the usual suspects and then split the mics to Apollos running through the UA Console App and it was near impossible to tell the difference. I mean that’ s just incredible.
And what they did with their Sphere mic that was the Townsend Lab mic is … it’ s just crazy. You can just pull a mic up, record your vocal
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