Blues..

[Rich Arnold]

Hi gang,
Hope everyone is fine here.
My Blues career started as the result of a call I received to play a session at the prestigious Woodland Studio in Nashville TN for a very uppity record produce who will remain anonymous.
I went into the studio with a 1947 Gibson lap steel, a Boss Blues Driver and a 1980 Fender Twin.
This misadventure ended ten minutes after it started because producer declared my guitar to be defective upon hearing a slight hum produced by the pickup. Told me to get the f**k out without paying me and get my guitar fixed. I never played one note that day.
I never did get a call for Blues after that and later pawned that guitar to support a habit I had at the time.
If I had been allowed to play it would have sounded like this probably...
https://youtu.be/6lG8SkT7RbY?si=zEdvMmXWnwj3HKOl

[Will Houston]

Ya,get the f*** out. No,really, nice playing, you can stay.

[Rich Arnold]

Ya,get the f*** out. No,really, nice playing, you can stay.

Thanks!

[George Piburn]

Your story is very upsetting and disgusting in a few ways,

1.) If the studio is so "prestigious" they should have a House instrument to their liking and should / could have taken a much more Civil attitude.

2.) I don't care how Uppity this produce is, Talking to you like you described is completely Uncalled for and furthest from professional.

You should be glad to not get any more call backs, there are plenty of studios and producers in Nashville, or anywhere for that matter, to treat you as a studio player, with dignity.

George Boards, Jeffran College Alumni 1980 - 1990.

[Jim Cohen]

Don’t most Pro Studios know how to identify the audio image of a hum, reverse it, and eliminate it?

[john buffington]

Sounds like the "producer" should be the one to leave, maybe he was in over his head, IMO.

[Rich Arnold]

Your story is very upsetting and disgusting in a few ways,

1.) If the studio is so "prestigious" they should have a House instrument to their liking and should / could have taken a much more Civil attitude.

2.) I don't care how Uppity this produce is, Talking to you like you described is completely Uncalled for and furthest from professional.

You should be glad to not get any more call backs, there are plenty of studios and producers in Nashville, or anywhere for that matter, to treat you as a studio player, with dignity.

George Boards, Jeffran College Alumni 1980 - 1990.

I went right back in again the next day.
The artists called me, the producer fired me.
I was somewhat butt-hurt but I get over those things pretty quick.

[Rich Arnold]

Don’t most Pro Studios know how to identify the audio image of a hum, reverse it, and eliminate it?

Yes! They do! Even in 1995 they had noise gates.
The artists hired me, but the guy producing the record already had the idea to use somebody else with a slide on a Les Paul and was irritated I was called.

[Rich Arnold]

Sounds like the "producer" should be the one to leave, maybe he was in over his head, IMO.

He was! So was the artist. Blind leading the blind.

[David DeLoach]

I've played a session or two in Nashville. The producers who are the most successful (Grammy awards, hits, etc.) tend to be the most chill, patient, and encouraging - fun to work with. The producers who are toxic tend to not be as successful.