We used only the finest reggae Samson CL-2 microphone into 5 triple rectifier retro-blasters and then feed the chain back into the Furman HR-6 Headphone adapter hooked up to 6 different tweeters on a carpeted 15″ speaker enclosure mounted with a 12″ speaker and a bit of wire. The whole thing catches on fire and we go back to using Protools in the stone Age. Were talking Digi 002’s and 3’s into a Telefunkin La2a and then into an array of tape machines and pedals we have arranged randomly on the floor with cables and wires for recording purposes. At this point we have no idea where anythings going and who knows what the sound will be like!

We will then painlessly pass each element of the mix starting with Kick drum through. Snare, snare bottom, snare middle and snare room, high hat, the kick drums again, maybe snare drum a few times, then BASS. We then get really into the sound because BASS is so important to reggae music. “its that BASS mon“. You wanna feel that bass in your chest that boom boom of the kick drum. Oh yeah.

Then we have the guitars. I like to start with 9 guitars and go from there. We layer them up. The little guitar. the second little guitar. the left and the right and so forth going on and on until Pro Tools crashes and we have to start all over again and and again and over and over recording the guitar. These guitar players they like to go a lot you know.

Any way sometime after the guitar player has crashed Pro Tools again with too many tracks and we are about to have a heart attack from the bass and drums pumping for so long, the lead singer has quit the band. The percussionist is off doing who knows what. We gave up on the record man. We just said fckit. It’s a lifestyle man. You can take it or leave it, and that’s reggae music in Cleveland.