Get amazing AI audio voiceovers made for long-form content such as podcasts, presentations and social media. (Get started for free)
Studio 606 holds a special place in the hearts of blues rock artists and fans alike. Located in the San Fernando Valley just outside of Los Angeles, it was founded in 2004 by the Foo Fighters in an old warehouse space. While it started as a rehearsal space for the band, it quickly evolved into a full-fledged recording studio once they realized the amazing sound they could capture there.
With its wooden walls, concrete floors, and high ceilings, Studio 606 has a live yet cozy vibe that lends itself perfectly to analog recording techniques. Many top artists have since made the pilgrimage to record in the hallowed space, including Neil Young, Nine Inch Nails, and Weezer. For blues rock bands, it represents the ideal blend of vintage gear, authentic ambience, and engineering expertise.
Zac Rae, keyboardist for the John Mayer Trio, described recording their live album Try! at Studio 606 like being transported back to the golden age of rock n" roll. "There was this kind of timeless quality to the sound we got there. The room just sang." The profile of the studio shot up dramatically after that landmark blues rock record was cut there.
Part of what makes Studio 606 so special is the collection of rare and boutique equipment housed there. From reel-to-reel tape machines to vintage guitars and amplifiers, it"s a tinkerer"s paradise. Engineers really know how to capture the warmth and richness that comes from analog gear. This gives a level of sonic fidelity that transports listeners right to the scene.
When it comes to capturing that raw, vintage blues rock sound, the gear you use makes all the difference. From guitars and amps to microphones and pedals, having the right equipment is crucial for recreating the tones of the past. For many bands, a big part of the appeal of recording at Studio 606 is getting to play with the arsenal of classic gear that lives there.
Electric guitars are at the heart of any great blues rock record. The Gibson Les Paul is practically synonymous with the genre, known for its thick, warm humbucker pickups and sustain. Other iconic models include the Fender Stratocaster and Telecaster, which offer more snap and twang. Studio 606 has racks full of vintage specimens like 1959 sunburst Les Pauls and 1952 Telecasters. Players can dial in just the right amount of grit and resonance.
In the world of guitar amps, going back to the original classics is a must. The Marshall Plexi and Fender Twin Reverb are industry standards, adding roundness and bite. Cranking up these tube amps and pushing them to breakup is how those legendary electric blues tones were born. Miking amp cabinets is an art form, one the engineers at 606 have long since mastered.
The key to a natural, dynamic blues rock sound is recording live off the floor. Studio 606 was designed with this in mind, letting musicians set up together and play as if on stage, while isolation booths prevent bleed between instruments. Ribbon microphones excel at capturing the air and dimension of the room.
When mixing blues rock, subtle analog effects make all the difference. Classic pedals like the Ibanez Tube Screamer and Dunlop Cry Baby wah add tonal shaping without overpowering the signal. Plate reverb and tape delay effects give a sense of space while retaining clarity. Careful compression helps even out dynamics between quiet and loud passages. The end result is a mix that sounds raw yet controlled.
When it comes to mics and preamps for blues rock recording, the name of the game is warmth, grit and authenticity. The right microphones and preamps will capture all the rawness and nuance of vintage electric guitar tones and passionate vocal performances. Ribbon mics in particular are prized for their natural, unhyped sound when recording loud guitar amps or drum kits. Models like the Royer R-121 and AEA R84 have enormous dynamic range and a smooth top end that never gets harsh. Their figure-8 polar pattern provides excellent rejection of other instruments.
For added dimension, some engineers will use multiple mics on one speaker cab. A dynamic mic up close to the grille captures detail and attack, while a condenser further back adds body and room sound. The two complement each other beautifully. Classic dynamic mics like the Shure SM57 excel at guitar amps thanks to their rugged build and pronounced midrange. An AKG C414 condenser mic picks up the amp"s natural decay and ambient room reverberation.
Vocals are best captured with a warm, vintage flavored large-diaphragm condenser. The Neumann U87 studio standard has the perfect balance of low midrange emphasis and silky highs to capture a blues rock singer"s passionate delivery. Its versatile polar pattern makes it ideal for a wide range of vocal styles. Other great options are the sultry Telefunken Ela M 251 or the PKCS Classic II, an affordable clone of the "50s era AKG C12.
Tube preamps are highly desirable for adding some pleasing saturation. The API 312 preamp has been used on countless blues rock records to fatten up guitars and give vocals a smooth vintage sheen. Pairing it with a Univox U47 tube mic recreates the radio-ready sound of classic blues rock vocals. The U47"s multi-pattern tube design has incredible richness on voices. True devotees of analog tone may even track to a Studer or Ampex tape machine for maximum old-school vibes!
Capturing the spontaneous magic and lively energy of a live band all playing together is an essential part of crafting an authentic blues rock record. While overdubs and piecemeal tracking allow for pinpoint precision, nothing compares to the organic feel of musicians interacting in real time. This is why recording live off the floor has become a hallmark of the genre.
Studio 606 was designed with an emphasis on live recording, thanks to its spacious, open layout and top-notch acoustic treatment. There are no boxy isolation booths obstructing sight lines between band members. The high ceilings and wooden walls create a vibrant, concert-like ambience in the main tracking room. Guitarist Brad Whitford of Aerosmith described it as "just a great-sounding rock room."
With minimal bleed-through between amps thanks to strategic baffling, artists can crank up their guitar rigs to achieve natural tube amp distortion. The room itself becomes an instrument, adding depth and excitement. Recording straight to analog tape enhances this lively sound even further.
"The energy we got recording Try! at Studio 606 was just incredible. Being able to see each other made all the difference," remarked singer-songwriter John Mayer of his live blues trio album. "[Engineer] Chad Franscoviak knew exactly how to capture that tight three-piece interplay."
Other artists have echoed the feeling of being transported back in time when tracking off the floor at 606. "It took me back to the 60s and 70s, playing live in the studio with a great band," said guitarist Rich Robinson of the Black Crowes. "We didn't even use headphones. It was just like, "Let's go for it.""
This spontaneous approach often yields the most passionate and inspired takes. Fixating on minor mistakes can sap the vibrant human feel from a recording. The odd flubbed note or lyric here and there simply adds to the living, breathing quality. Much like a captivating live show, imperfections end up enhancing the overall energy and attitude of the recording.
When it comes to blues rock, the guitar tone is everything. While effects and playing style certainly contribute, that core foundational sound starts with the amp. Guitar amps color and shape each note in a way that defines the overall vibe of a track. Choosing the right model and dialing in the perfect sound is absolutely crucial.
The first major choice is between tube and solid-state amps. While solid-state amps offer reliability and clean headroom, tube amps provide the warm, dynamic overdrive so integral to electric blues. The 12AX7 preamp tubes and 6L6 or EL34 power tubes react and compress in a very musical way when pushed hard. This adds pleasing harmonics and allows the guitar signal to organically break up.
According to producer Rick Parashar, who has recorded blues artists from Pearl Jam to Gary Clark Jr, "You can't beat the sound of a Marshall Plexi cranked up for raw, vintage rock tone. When those tubes start to saturate, it's magical." Other amp builders like Fender and Vox also offer iconic tube models ideal for blues. Dialing in just the right amount of gain and volume is key.
Equalization also plays a big role in shaping blues guitar sounds. Scooping the mids and boosting lows and highs gives a beefy yet cutting lead tone. A midrange bump accentuates those vocal-like tube amp harmonics. Rolling off highs decreases fizz and adds vintage warmth. The EQ profile should match the guitar - bright Teles and Strats sound better with some mellowing EQ, while darker Les Pauls benefit from extra top-end sparkle.
When it comes to getting that true vintage blues rock tone, guitar pedals play an absolutely essential role. From subtle tonal enhancement to raucous distortion, effects pedals shape and color the raw guitar signal in ways amps and mics alone simply cannot. While modern digital effects have their place, knowledgeable blues rock engineers and producers almost always turn to classic analog stompboxes for the true warmth and personality that brings a track to life.
The Ibanez Tube Screamer, in production essentially unchanged since the late 1970s, is hands-down the most ubiquitous pedal heard on blues rock records over the past four decades. This modest green box packs a major sonic punch, with a characteristic midrange hike that adds sustain and vocal-like harmonics to tube amp distortion. Countless artists from Stevie Ray Vaughan to John Mayer have employed Tube Screamers to give their tone that extra bite and presence needed to cut through a mix.
Another essential category is fuzz pedals, which intentionally clip and distort the signal for a raw, nasty tone. The legendary Dallas Arbiter Fuzz Face used by Jimi Hendrix yielded the thick, furry distortion heard on classics like "Voodoo Child." Today, boutique makers like Analogman offer meticulous Fuzz Face replicas praised by Gary Clark Jr and Dan Auerbach of the Black Keys for their rich, vintage fuzz.
For adding the spaced-out ambience of a live blues club or concert hall, analog delay and reverb effects are a must. Though many models exist today, nothing quite captures that retro dub echo like the Maestro Echoplex EP-3 tape echo used extensively by blues greats like B.B. King and Albert Collins in the "60s and "70s. Thanks to the warm, saturated sound of playback from magnetic tape, the Echoplex adds organic atmosphere to solos and chops.
Wah pedals also occupy a special place in the blues rock canon, imbuing guitar lines with a vocal, emotive quality. The Dunlop Cry Baby, essentially unchanged since its 1966 debut, uses an ingenious rocking foot pedal to sweep a peak filter across the frequency spectrum. In the hands of modern blues virtuosos like Joe Bonamassa, the Cry Baby makes guitar lines sing, cry and wail just like the human voice.
When choosing pedals, vintage gear from the "60s and "70s reigns supreme. Due to inconsistencies in manufacturing and aged components, original pedals impart a liveliness and mojo lacking in many modern equivalents. Even brand new boutique pedals aiming for that vintage sound use new old stock (NOS) transistors, resistors, and capacitors to capture the magic. While new pedals have better reliability and can more accurately recreate classic circuits, studio engineers overwhelmingly turn to originals when authentic analog warmth is the goal.
A blues rock mix should capture the raw, rebellious energy that defines the genre. While a certain messy, unpredictable looseness is desirable, the end product still requires careful balancing and polish. Mixing for maximum grit and groove is an art that brings out the most exciting elements of the performance without sacrificing that off-the-cuff vibe.
The foundation of any rock mix is the drums. Tuning, mic choices and compression settings all impact the punch and power of the kit. According to Grammy-winning engineer Sylvia Massy (Tool, Johnny Cash), "Tuning the drums is critical for getting that fat, funky Bonham/Moon vibe. Then I compress with faster attacks to really make the kick and snare pop." Clip gain on the overhead mics adds sizzle and detail to cymbals and toms.
Electric guitars should dominate the sonic space in an impactful way. Panning the rhythm guitars hard left and right creates a wide stereo image, surrounding the listener. Lead guitar sits center stage, where subtle saturation from tape or tube preamps gives solos added grit and character. Rolling off lows prevents muddiness, while a gentle high-end boost adds cut and clarity.
Vocals are ideally sent through guitar amps to impart a raw edge. "I patched Plant"s mic through a cranked Vox AC30 to get that iconic Zeppelin yowl," explains producer Rick Rubin. Parallel distortion adds in-your-face rock aggression without compromising intelligibility. Strategic use of delay and reverb places the singer front and center while hinting at the ambience of a live show.
Finally, the bass glues the whole mix together. Dialing in the perfect low midrange bump around 200-400 Hz gives the bass thickness and presence so it doesn"t get buried. distorted guitar and kick drum. Sidechaining bass to the kick drum tightens up the low end and prevents muddiness. A bit of overdrive adds some hairy texture.
It"s worth noting that many of rock"s most iconic mixes were fairly rudimentary by modern standards. Jimmy Page"s work on Led Zeppelin II was done entirely in mono, with only basic EQ tweaks and creative mic placement used to achieve balance. Unconventional techniques like mic bleed and pushing levels into the red often produced the most exciting results.
After all the blood, sweat and tears that go into tracking and mixing a blues rock record, the final mastering stage is absolutely critical for taking things to the next level sonically. This final polishing and enhancement phase tightens up the overall sound and maximizes the excitement and emotional impact.
"A good mastering engineer is like a second set of trusted ears. They bring in fresh perspective and can see the big picture in ways that I can"t when I"m deep in the details," explains Michael Brauer, a Grammy-winning engineer who has mastered albums for everyone from John Mayer to Coldplay.
The technical aspects of mastering include sequence editing, level balancing between tracks, and applying subtle EQ and compression to enhance the mix. However, exceptional mastering engineers also take a holistic, creative approach to build on the mixer"s vision.
"When I master a blues rock album, I"m always thinking about the journey and narrative arc. How do I draw listeners in and take them on an adventure from start to finish?" says Emily Lazar of The Lodge LA mastering studio. "The sequence of songs, the spaciousness, effects, and flow all factor into the storytelling."
Subtle tweaks to the frequency balance can also make a surprisingly big difference. "I might add a dB at 4 kHz for extra bite on guitar solos, dip 200 Hz to tighten up a boomy bass, or boost some air at 10 kHz for more room ambience. Little moves like that bring out the vibrancy," explains Joe LaPorta, senior mastering engineer at Sterling Sound NYC.
One of the key roles of mastering is maximizing loudness and impact. Careful use of multi-band compression evens out the mix so choruses hit harder and subtle details aren"t drowned out by peaks. "You have to ride that line between exciting and fatiguing. I want listeners to feel immersed but not overwhelmed," says LaPorta.
Mastering engineers must make judicious choices since every step affects sound quality. "With blues rock, I avoid brickwall limiting since you lose that dynamic, human ebb and flow. Gentle compression focused on low mids around 200-400 Hz adds punch and grip," advises Lazar.