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| Mick Conley (left), longtime engineer for Marty Stuart (right), relies on JBL LSR4300 Series studio for all of his mixes. |
“Marty is as old
school as I am when it comes to the sound he wants to get on his records,” said
Conley, who has worked with greats such as Kathy Mattea, Patti Page, The Blind
Boys of Alabama, Suzy Bogguss and many others. “We want to achieve a rich, full
sound with plenty of detail. JBL LSR Series studio monitors are a big part of
helping us achieve that.”
For his most recent
release, Nashville Volume 1: Tear the
Woodpile Down, and his 2010 release, Ghost
Train, Stuart sought out the prestigious confines of Studio B. “Studio
B was one of the places where the legendary Nashville Sound of the 1960s was
created,” Conley noted. “Some of the greatest
country music recordings of all time were made there and it was the first place
Marty ever recorded. Marty and his band wanted to feel that
vibe.”
However, since
Studio B is now a museum, they had to get special permission to record
there, which meant bringing in some key pieces of gear, including Conley’s JBL LSR4326P studio monitors and LSR4312SP subwoofer. “Studio
B might be hallowed ground for recording industry pros—but let’s not forget
that it was designed on the back of a napkin,” Conley said. “It’s always had
acoustic challenges. I needed monitors I could trust. We use JBL LSR monitors
everywhere—at my studio, and at [Marty Stuart’s bassist] Paul Martin’s studio
in both stereo and 5.1 configurations, for The
Marty Stuart Show and for a recent broadcast of a live concert on SiriusXM.
I know can rely on them in any situation.”
“In any kind of
recording, the hardest thing is to get the bottom end right,” Conley continued.
“With the LSR’s, I can trust what I’m hearing, whether I’m using a stereo or
5.1 monitoring setup. Their RMC Room Mode Correction enables me to factor out
the influence of the room on the low-frequency response and make subtle or
major adjustments to the bottom end. Depending on the project, I might or might
not use a subwoofer, but even without the sub I know there’s no guessing.”
“When Marty and his
band record, we just like to go in and do it—get in there and cut those tracks as
a complete performance. For Ghost Train and
the newly released Nashville Volume 1:
Tear the Woodpile Down, each song was tracked live with minimal overdubs to
finish it—then on to the next song. It would be hard to do that if I don’t know
what I’m hearing on the monitors is what it really sounds like where the
musicians are performing. And of course, The
Marty Stuart Show is recorded ‘live’ with a ‘Who’s Who” of country music
starts, so I have to meet Marty’s high standards and his guests’ high standards
also. That’s why I rely on the LSR Series studio monitors.”
With a variety of
projects on the horizon for the rest of 2012 and beyond, Conley will take his
LSR studio monitors wherever he goes. "I don’t want any surprises,” he
said. “When it comes to trusting what you’re hearing, your monitors are your
only comfort factor.”
HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.
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