Chords for Reverb Soundcheck: Daptone House of Soul Studio
Tempo:
66.65 bpm
Chords used:
Bbm
Ebm
F
Dm
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[C] You're at the Daptone House of Soul [G] recording studio.
It's a record label that we started
[Am] with the full-on intention to make
the best soul records of the era.
[Dm]
Gabe had a record label [D] prior to Daptone called Desco Records,
and I was a recording artist on the label,
and what even at that point separated that label
from other labels was [D] that they had an in-house studio.
That was the business model of how we were going to set up Daptone
was having this recording studio, being able to cut different stuff,
having a house [G] band, being able to cut different singers.
[Dm] So the studio component was [Gm] really a huge part of what we wanted to do.
And then as artists, [G] myself, it's like way more interesting.
[Dm] We have an office right upstairs,
which is [Bm] where we do all the [F] distribution and sales from.
So [A] just back and forth, keeping everything fresh all the time.
You know, Motown and Stax, they were all run like that.
It's an analog studio, and if anyone wanted to cut anything digital in here,
you would need to bring in a Pro Tools rig because [Dm] we don't have it.
You know, we do have a 16-track machine and 2-way track machines,
but that's the machine that we're really using all the time.
These things all have characters of themselves.
The tape machine has a character that we need to [Ab] use,
and a certain microphone has a [Dm] character.
The physical aspect of it just feels right for us.
It's compression [G] that you're not going to get from a digital [Dm] situation.
It's just, you know, you push [G] digital, and it's just this awful distortion.
[Dm] You push tape, and it bellows out, it compresses, and it moves in different ways.
It's more organic [Bm] sounding, maybe?
We love old records, and [A] those are the records that we're trying to make,
and that's the gold [Bb] standard for us.
[Cm]
[Bb] [Cm] [Gm] The Sharon Jones stuff, big [A] ones have been 100 days.
The last one, Give the [Eb] People What They Want.
I think the best-selling one so far has been I Learned the [Cm] Hard Way.
And also the most dynamic record where that was, you know,
there's [Gm] a lot of strings on that record,
so you will hear a pretty [F] lush, open sound produced [G] in not such a big room.
There's [Dm] one of the reverb units.
The [Eb] Orban is a big [F] go for us, and we do have a plate in the basement.
I was never [Gm] sure if there was a daft tone sound,
but there's something that the studio can bring to those records.
[B] We can record live in there, and actually all the [Gm] rhythm stuff goes down live,
and you can [G] see there's the baffles and the go-go's, everything is there.
And again, depending on what the song is,
whether the drums are isolated in the isolation booth, or they're live,
or there's no rugs on the floor, things are more open, things are brighter.
I can speak for the horn section, and we've [Cm] recorded everything
from Amy Winehouse's record to Bruno Mars' Uptown Funk.
All the horns are recorded here, [Eb] and we know how to work that room,
and we can brighten the [F] rooms up and darken them.
As you [Cm] notice, [Eb] it's not a huge space,
so [A] we really need to utilize the space sonically, you know,
because we're recording stuff on one mic,
so knowing that the blend is exactly how it's [Bb] going to be.
[Bbm] [Ebm]
[Bbm] [Gb]
[Bbm] The other thing that happens here, which may be different than most studios,
is 75% of the sessions are mostly [F] the same guys.
It's always [F] Gabe on bass, Homer Steinwhite on drums,
Binky Griptight and Tom Brennick on [Ebm] guitar, or Joe [Bbm] Cristiano on guitar.
And Homer's doing tons of stuff now as well, including all the Mark Ronson stuff.
He was [C] working on an album, Versions, which [Bbm] was a very horn-heavy record,
and he called in [Ebm] the Dapking Horns,
because he [Ab] had been sampling our records from the very first [Gb] record,
and we were on his radar, and he was really good to talk to,
and [Bbm] obviously I was always pitching him to use the band and the studio for anything,
and then he came in [Ebm] and started cutting with the [Bbm] band.
All the tracks that he cut for the Amy record, there were two producers,
all his [Ebm] tracks, which were the big tracks, were all cut here.
[Bbm] We were waiting on this new Charles Bradley record around the corner.
We recorded James Hunter's new [Ebm] record.
Some more rock stuff.
We're trying to get back in with Sharon to do another record.
Vinyl [Ebm] is huge right now, and it is an [Bbm] aesthetic that we prefer,
and we're all collecting records, and 7 inches too.
We're count down to 107 [Ebm] inches right now.
[F] That'll be in the next few months.
So we did a lot of [Bbm] 45s, but I think more [Ebm] important about the vinyl aesthetic
is [Ab] just that we're making records, and when [Gb] we're sequencing a record,
we're thinking about an A side and a B side,
and even more [Ab] importantly is you [C] can only maximize 30 to 35,
40 minutes on the [Bbm] outside for a record.
So [Gb] that's 17 minutes [Ebm] a side, or optimally 15 minutes [Bbm] a side,
and no one's ever said, man, these records are short,
even though they're mostly about 35 [Ebm] minutes.
I think that one of the downfalls of the major labels through the 90s
[Ebm] into the 2000s where these [Bbm] CDs or these records that had to be an hour and a half,
you'd put a CD on and you would never get to the end of the CD.
You [Ab] listen to an album, you have 15 minutes of [Gb] concentrated listening,
and flipped aside, you have this whole other experience.
[Ab] That is what we were real into.
If you toured around, you can [Gb] see there's a new Sharon Christmas record coming out,
and there's just [F] stacks of them, thousands of them in the hallway out there.
[F] That's exciting.
Thousands of CDs, it's just not as, it seems a little more disposable.
And those will live.
Those will live for a long time.
I mean, we all have [Ebm] old jazz records in our collection that are [Bbm] easily 50, 55 years.
I mean, it's crazy.
[Ebm] [Fm]
It's a record label that we started
[Am] with the full-on intention to make
the best soul records of the era.
[Dm]
Gabe had a record label [D] prior to Daptone called Desco Records,
and I was a recording artist on the label,
and what even at that point separated that label
from other labels was [D] that they had an in-house studio.
That was the business model of how we were going to set up Daptone
was having this recording studio, being able to cut different stuff,
having a house [G] band, being able to cut different singers.
[Dm] So the studio component was [Gm] really a huge part of what we wanted to do.
And then as artists, [G] myself, it's like way more interesting.
[Dm] We have an office right upstairs,
which is [Bm] where we do all the [F] distribution and sales from.
So [A] just back and forth, keeping everything fresh all the time.
You know, Motown and Stax, they were all run like that.
It's an analog studio, and if anyone wanted to cut anything digital in here,
you would need to bring in a Pro Tools rig because [Dm] we don't have it.
You know, we do have a 16-track machine and 2-way track machines,
but that's the machine that we're really using all the time.
These things all have characters of themselves.
The tape machine has a character that we need to [Ab] use,
and a certain microphone has a [Dm] character.
The physical aspect of it just feels right for us.
It's compression [G] that you're not going to get from a digital [Dm] situation.
It's just, you know, you push [G] digital, and it's just this awful distortion.
[Dm] You push tape, and it bellows out, it compresses, and it moves in different ways.
It's more organic [Bm] sounding, maybe?
We love old records, and [A] those are the records that we're trying to make,
and that's the gold [Bb] standard for us.
[Cm]
[Bb] [Cm] [Gm] The Sharon Jones stuff, big [A] ones have been 100 days.
The last one, Give the [Eb] People What They Want.
I think the best-selling one so far has been I Learned the [Cm] Hard Way.
And also the most dynamic record where that was, you know,
there's [Gm] a lot of strings on that record,
so you will hear a pretty [F] lush, open sound produced [G] in not such a big room.
There's [Dm] one of the reverb units.
The [Eb] Orban is a big [F] go for us, and we do have a plate in the basement.
I was never [Gm] sure if there was a daft tone sound,
but there's something that the studio can bring to those records.
[B] We can record live in there, and actually all the [Gm] rhythm stuff goes down live,
and you can [G] see there's the baffles and the go-go's, everything is there.
And again, depending on what the song is,
whether the drums are isolated in the isolation booth, or they're live,
or there's no rugs on the floor, things are more open, things are brighter.
I can speak for the horn section, and we've [Cm] recorded everything
from Amy Winehouse's record to Bruno Mars' Uptown Funk.
All the horns are recorded here, [Eb] and we know how to work that room,
and we can brighten the [F] rooms up and darken them.
As you [Cm] notice, [Eb] it's not a huge space,
so [A] we really need to utilize the space sonically, you know,
because we're recording stuff on one mic,
so knowing that the blend is exactly how it's [Bb] going to be.
[Bbm] [Ebm]
[Bbm] [Gb]
[Bbm] The other thing that happens here, which may be different than most studios,
is 75% of the sessions are mostly [F] the same guys.
It's always [F] Gabe on bass, Homer Steinwhite on drums,
Binky Griptight and Tom Brennick on [Ebm] guitar, or Joe [Bbm] Cristiano on guitar.
And Homer's doing tons of stuff now as well, including all the Mark Ronson stuff.
He was [C] working on an album, Versions, which [Bbm] was a very horn-heavy record,
and he called in [Ebm] the Dapking Horns,
because he [Ab] had been sampling our records from the very first [Gb] record,
and we were on his radar, and he was really good to talk to,
and [Bbm] obviously I was always pitching him to use the band and the studio for anything,
and then he came in [Ebm] and started cutting with the [Bbm] band.
All the tracks that he cut for the Amy record, there were two producers,
all his [Ebm] tracks, which were the big tracks, were all cut here.
[Bbm] We were waiting on this new Charles Bradley record around the corner.
We recorded James Hunter's new [Ebm] record.
Some more rock stuff.
We're trying to get back in with Sharon to do another record.
Vinyl [Ebm] is huge right now, and it is an [Bbm] aesthetic that we prefer,
and we're all collecting records, and 7 inches too.
We're count down to 107 [Ebm] inches right now.
[F] That'll be in the next few months.
So we did a lot of [Bbm] 45s, but I think more [Ebm] important about the vinyl aesthetic
is [Ab] just that we're making records, and when [Gb] we're sequencing a record,
we're thinking about an A side and a B side,
and even more [Ab] importantly is you [C] can only maximize 30 to 35,
40 minutes on the [Bbm] outside for a record.
So [Gb] that's 17 minutes [Ebm] a side, or optimally 15 minutes [Bbm] a side,
and no one's ever said, man, these records are short,
even though they're mostly about 35 [Ebm] minutes.
I think that one of the downfalls of the major labels through the 90s
[Ebm] into the 2000s where these [Bbm] CDs or these records that had to be an hour and a half,
you'd put a CD on and you would never get to the end of the CD.
You [Ab] listen to an album, you have 15 minutes of [Gb] concentrated listening,
and flipped aside, you have this whole other experience.
[Ab] That is what we were real into.
If you toured around, you can [Gb] see there's a new Sharon Christmas record coming out,
and there's just [F] stacks of them, thousands of them in the hallway out there.
[F] That's exciting.
Thousands of CDs, it's just not as, it seems a little more disposable.
And those will live.
Those will live for a long time.
I mean, we all have [Ebm] old jazz records in our collection that are [Bbm] easily 50, 55 years.
I mean, it's crazy.
[Ebm] [Fm]
Key:
Bbm
Ebm
F
Dm
G
Bbm
Ebm
F
_ _ [C] You're at the Daptone House of Soul [G] recording studio.
It's a record label that we started
[Am] with the full-on intention to make
the best soul records of the era.
[Dm] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ Gabe had a record label [D] prior to Daptone called Desco Records,
and I was a recording artist on the label,
and what even at that point separated that label
from other labels was [D] that they had an in-house studio.
That was the business model of how we were going to set up Daptone
was having this recording studio, being able to cut different stuff,
having a house [G] band, being able to cut different singers.
[Dm] So the studio component was [Gm] really a huge part of what we wanted to do.
And then as artists, [G] myself, it's like way more interesting.
[Dm] We have an office right upstairs,
which is [Bm] where we do all the [F] distribution and sales from.
So [A] just back and forth, keeping everything fresh all the time.
You know, Motown and Stax, they were all run like that.
It's an analog studio, and if anyone wanted to cut anything digital in here,
you would need to bring in a Pro Tools rig because [Dm] we don't have it.
You know, we do have a 16-track machine and 2-way track machines,
but that's the machine that we're really using all the time.
These things all have characters of themselves.
The tape machine has a character that we need to [Ab] use,
and a certain microphone has a [Dm] character.
The physical aspect of it just feels right for us.
It's compression [G] that you're not going to get from a digital [Dm] situation.
It's just, you know, you push [G] digital, and it's just this awful distortion.
[Dm] You push tape, and it bellows out, it compresses, and it moves in different ways.
It's more organic [Bm] sounding, maybe?
We love old records, and [A] those are the records that we're trying to make,
and that's the gold [Bb] standard for us.
_ _ [Cm] _ _ _
[Bb] _ _ _ [Cm] _ _ [Gm] The Sharon Jones stuff, big [A] ones have been 100 days.
The last one, Give the [Eb] People What They Want.
I think the best-selling one so far has been I Learned the [Cm] Hard Way.
And also the most dynamic record where that was, you know,
there's [Gm] a lot of strings on that record,
so you will hear a pretty [F] lush, open sound produced [G] in not such a big room.
There's [Dm] one of the reverb units.
The [Eb] Orban is a big [F] go for us, and we do have a plate in the basement.
I was never [Gm] sure if there was a daft tone sound,
but there's something that the studio can bring to those records.
[B] We can record live in there, and actually all the [Gm] rhythm stuff goes down live,
and you can [G] see there's the baffles and the go-go's, everything is there.
And again, depending on what the song is,
whether the drums are isolated in the isolation booth, or they're live,
or there's no rugs on the floor, things are more open, things are brighter.
I can speak for the horn section, and we've [Cm] recorded everything
from Amy Winehouse's record to Bruno Mars' Uptown Funk.
All the horns are recorded here, [Eb] and we know how to work that room,
and we can brighten the [F] rooms up and darken them.
As you [Cm] notice, [Eb] it's not a huge space,
so [A] we really need to utilize the space sonically, you know,
because we're recording stuff on one mic,
so knowing that the blend is exactly how it's [Bb] going to be.
_ [Bbm] _ _ _ _ _ [Ebm] _ _
_ [Bbm] _ _ _ _ _ _ [Gb]
[Bbm] The other thing that happens here, which may be different than most studios,
is 75% of the sessions are mostly [F] the same guys.
It's always [F] Gabe on bass, Homer Steinwhite on drums,
Binky Griptight and Tom Brennick on [Ebm] guitar, or Joe [Bbm] Cristiano on guitar.
And Homer's doing tons of stuff now as well, including all the Mark Ronson stuff.
He was [C] working on an album, Versions, which [Bbm] was a very horn-heavy record,
and he called in [Ebm] the Dapking Horns,
because he [Ab] had been sampling our records from the very first [Gb] record,
and we were on his radar, and he was really good to talk to,
and [Bbm] obviously I was always pitching him to use the band and the studio for anything,
and then he came in [Ebm] and started cutting with the [Bbm] band.
All the tracks that he cut for the Amy record, there were two producers,
all his [Ebm] tracks, which were the big tracks, were all cut here.
[Bbm] We were waiting on this new Charles Bradley record around the corner.
We recorded James Hunter's new [Ebm] record.
Some more rock stuff.
We're trying to get back in with Sharon to do another record.
Vinyl [Ebm] is huge right now, and it is an [Bbm] aesthetic that we prefer,
and we're all collecting records, and 7 inches too.
We're count down to 107 [Ebm] inches right now.
[F] That'll be in the next few months.
So we did a lot of [Bbm] 45s, but I think more [Ebm] important about the vinyl aesthetic
is [Ab] just that we're making records, and when [Gb] we're sequencing a record,
we're thinking about an A side and a B side,
and even more [Ab] importantly is you [C] can only maximize 30 to 35,
40 minutes on the [Bbm] outside for a record.
So [Gb] that's 17 minutes [Ebm] a side, or optimally 15 minutes [Bbm] a side,
and no one's ever said, man, these records are short,
even though they're mostly about 35 [Ebm] minutes.
I think that one of the downfalls of the major labels through the 90s
[Ebm] into the 2000s where these [Bbm] CDs or these records that had to be an hour and a half,
you'd put a CD on and you would never get to the end of the CD.
You [Ab] listen to an album, you have 15 minutes of [Gb] concentrated listening,
and flipped aside, you have this whole other experience.
[Ab] That is what we were real into.
If you toured around, you can [Gb] see there's a new Sharon Christmas record coming out,
and there's just [F] stacks of them, thousands of them in the hallway out there.
[F] That's exciting.
Thousands of CDs, it's just not as, it seems a little more disposable.
And those will live.
Those will live for a long time.
I mean, we all have [Ebm] old jazz records in our collection that are [Bbm] easily 50, 55 years.
I mean, it's crazy.
[Ebm] _ _ [Fm] _ _ _
It's a record label that we started
[Am] with the full-on intention to make
the best soul records of the era.
[Dm] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ Gabe had a record label [D] prior to Daptone called Desco Records,
and I was a recording artist on the label,
and what even at that point separated that label
from other labels was [D] that they had an in-house studio.
That was the business model of how we were going to set up Daptone
was having this recording studio, being able to cut different stuff,
having a house [G] band, being able to cut different singers.
[Dm] So the studio component was [Gm] really a huge part of what we wanted to do.
And then as artists, [G] myself, it's like way more interesting.
[Dm] We have an office right upstairs,
which is [Bm] where we do all the [F] distribution and sales from.
So [A] just back and forth, keeping everything fresh all the time.
You know, Motown and Stax, they were all run like that.
It's an analog studio, and if anyone wanted to cut anything digital in here,
you would need to bring in a Pro Tools rig because [Dm] we don't have it.
You know, we do have a 16-track machine and 2-way track machines,
but that's the machine that we're really using all the time.
These things all have characters of themselves.
The tape machine has a character that we need to [Ab] use,
and a certain microphone has a [Dm] character.
The physical aspect of it just feels right for us.
It's compression [G] that you're not going to get from a digital [Dm] situation.
It's just, you know, you push [G] digital, and it's just this awful distortion.
[Dm] You push tape, and it bellows out, it compresses, and it moves in different ways.
It's more organic [Bm] sounding, maybe?
We love old records, and [A] those are the records that we're trying to make,
and that's the gold [Bb] standard for us.
_ _ [Cm] _ _ _
[Bb] _ _ _ [Cm] _ _ [Gm] The Sharon Jones stuff, big [A] ones have been 100 days.
The last one, Give the [Eb] People What They Want.
I think the best-selling one so far has been I Learned the [Cm] Hard Way.
And also the most dynamic record where that was, you know,
there's [Gm] a lot of strings on that record,
so you will hear a pretty [F] lush, open sound produced [G] in not such a big room.
There's [Dm] one of the reverb units.
The [Eb] Orban is a big [F] go for us, and we do have a plate in the basement.
I was never [Gm] sure if there was a daft tone sound,
but there's something that the studio can bring to those records.
[B] We can record live in there, and actually all the [Gm] rhythm stuff goes down live,
and you can [G] see there's the baffles and the go-go's, everything is there.
And again, depending on what the song is,
whether the drums are isolated in the isolation booth, or they're live,
or there's no rugs on the floor, things are more open, things are brighter.
I can speak for the horn section, and we've [Cm] recorded everything
from Amy Winehouse's record to Bruno Mars' Uptown Funk.
All the horns are recorded here, [Eb] and we know how to work that room,
and we can brighten the [F] rooms up and darken them.
As you [Cm] notice, [Eb] it's not a huge space,
so [A] we really need to utilize the space sonically, you know,
because we're recording stuff on one mic,
so knowing that the blend is exactly how it's [Bb] going to be.
_ [Bbm] _ _ _ _ _ [Ebm] _ _
_ [Bbm] _ _ _ _ _ _ [Gb]
[Bbm] The other thing that happens here, which may be different than most studios,
is 75% of the sessions are mostly [F] the same guys.
It's always [F] Gabe on bass, Homer Steinwhite on drums,
Binky Griptight and Tom Brennick on [Ebm] guitar, or Joe [Bbm] Cristiano on guitar.
And Homer's doing tons of stuff now as well, including all the Mark Ronson stuff.
He was [C] working on an album, Versions, which [Bbm] was a very horn-heavy record,
and he called in [Ebm] the Dapking Horns,
because he [Ab] had been sampling our records from the very first [Gb] record,
and we were on his radar, and he was really good to talk to,
and [Bbm] obviously I was always pitching him to use the band and the studio for anything,
and then he came in [Ebm] and started cutting with the [Bbm] band.
All the tracks that he cut for the Amy record, there were two producers,
all his [Ebm] tracks, which were the big tracks, were all cut here.
[Bbm] We were waiting on this new Charles Bradley record around the corner.
We recorded James Hunter's new [Ebm] record.
Some more rock stuff.
We're trying to get back in with Sharon to do another record.
Vinyl [Ebm] is huge right now, and it is an [Bbm] aesthetic that we prefer,
and we're all collecting records, and 7 inches too.
We're count down to 107 [Ebm] inches right now.
[F] That'll be in the next few months.
So we did a lot of [Bbm] 45s, but I think more [Ebm] important about the vinyl aesthetic
is [Ab] just that we're making records, and when [Gb] we're sequencing a record,
we're thinking about an A side and a B side,
and even more [Ab] importantly is you [C] can only maximize 30 to 35,
40 minutes on the [Bbm] outside for a record.
So [Gb] that's 17 minutes [Ebm] a side, or optimally 15 minutes [Bbm] a side,
and no one's ever said, man, these records are short,
even though they're mostly about 35 [Ebm] minutes.
I think that one of the downfalls of the major labels through the 90s
[Ebm] into the 2000s where these [Bbm] CDs or these records that had to be an hour and a half,
you'd put a CD on and you would never get to the end of the CD.
You [Ab] listen to an album, you have 15 minutes of [Gb] concentrated listening,
and flipped aside, you have this whole other experience.
[Ab] That is what we were real into.
If you toured around, you can [Gb] see there's a new Sharon Christmas record coming out,
and there's just [F] stacks of them, thousands of them in the hallway out there.
[F] That's exciting.
Thousands of CDs, it's just not as, it seems a little more disposable.
And those will live.
Those will live for a long time.
I mean, we all have [Ebm] old jazz records in our collection that are [Bbm] easily 50, 55 years.
I mean, it's crazy.
[Ebm] _ _ [Fm] _ _ _