AudioMedia - Audio Media International

Daptone Records engineer Gabriel Roth praises Tube-Tech equalisers and compressors

Daptone Records engineer Gabriel Roth praises Tube-Tech equalisers and compressors
Murray Stassen

Recording

09 November 2017: By Murray Stassen

Gabriel Roth is the bassist and main songwriter behind Sharon Jones & the Dap-Kings and the studio engineer and producer behind Daptone Records.

Gabriel Roth has said that, although he "doesn't buy into hype and is not big on endorsing gear,”  he thinks that Tube-Tech gear  "sounds fantastic".

"I’m able to do real ‘heavy lifting’ without getting any undesirable artifacts," he added. "I find that when I push a lot of other gear, it sounds effected and displeasing. Not so with Tube-Tech: I can make strong moves, but the end result is always musical and pleasing. If Tube-Tech gear performed the same but came in a tiny box with cheap little knobs, I’d happily use it just the same.”

Roth is the bassist and main songwriter behind Sharon Jones & the Dap-Kings and the engineer and producer behind Daptone Records.

He boasts Grammys for his work on Amy Winehouse’s multi-platinum Back to Black album and Booker T.'s Road to Memphis.

Daptone's House of Soul studios and headquarters are hidden away in an old two-story house in Bushwick, Brooklyn, and Roth has a second mixing studio, Penrose Recorders, in Riverside, California.

Both studios have Ampeg tape machines, Trident consoles and a good amount of Tube-Tech gear. Roth has relied on Tube-Tech PE-1C and ME-1B equalisers and LCA-2B compressors on both sides of the country for years, and he recently added a Tube-Tech SMC 2B multi-band compressor and a Tube-Tech HLT2A “Tilt” EQ to the rack.

“I haven’t had [Tilt EQ] for very long, but we immediately started using it on the vocal bus for the new Michael Rault record. There are a ton of vocals on that record – leads, backgrounds, harmonies, doubles – and we bussed them all through the Tilt," he said.

"I was able to thin things out a bit, brighten everything up, and sprinkle Tube-Tech’s fairy dust over all the vocals. It’s very pretty. Like my other Tube-Tech equalisers, the Tilt is one of the few equalisers that can really push high end in a musical way. It sounds simple, but most EQs get ugly and full of artifacts. With Tube-Tech, I can get in there with a heavy hand and everything still sounds pleasant.”