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.”