Eddie's recording setup in
1987 was the living room at his La Mesa apartment and the GasCard office
and petroleum warehouse at San Diego Petroleum Corp. Occasionally he would
also record at my house using the sampler and reverb that I owned. He
spent a lot of evenings at work programming his drum machine to the proper
rhythms for the particular song he was working on. Vocals were also recorded
at work because the warehouse was large with a natural reverb, and also
because there were no neighbors to disturb. He spent a lot of time practicing
guitar at work. It was also common to see his black Fender Telecaster
at work. However, he primarily recorded guitar at his La Mesa apartment
living room because it was a pain to load up all the gear necessary to
do the job.
Once Eddie programmed the drum machine for a particular song, he would
lay it down on the third track in mono. He would then record the base
line on the second channel, and then bounce both to the first channel
so that the drums and bass were on the first channel in mono, panned dead
center. The guitar tracks were then recorded on tracks two and three.
Once he had all the instruments accounted for, he recorded his vocals.
Sometimes he would have vocal over dubs were he would leave the third
channel open from guitar. This allowed him to record the lead vocal on
the third channel and then bounce to the fourth channel along with the
vocal harmony (real time) direct to tape. He would then bounce the guitar
on track two to track three so he would have stereo guitar. Each song
varied, of course, but that is a typical way he would do it. The amount
of bouncing he had to perform took its tole on the audio quality of his
demo's. As most of you probably know, the more a track is bounced using
analog equipment, the more rapidly the audio quality diminishes.
His recordings were 'so-so' in quality. Some of the other problems he
encountered were that he had no compressor/limiter to even out his guitar,
bass, and vocal levels. The final mixes had some problems of certain instruments
drowning out the sound of another at certain parts of a song. The drum
machine he used was another problem. It did not sound like a real drum.
The Roland TR-707 he used was commonly used for more techno oriented percussion
sounds. It was an early model drum machine that lacked the technology
to emulate a real drum sound (particularly the snare).