Digital Minds
Rob Hill - The Man Who Stays Up All Night to Finish Your Record
By Marsha Vdovin
Rob Hill at Abby Road Studio C
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As far as the UAD-1... Uh, again, the secret is to use it as much as you possibly can!!!
Why did I leave? First it was incredibly EXPENSIVE, and secondly, I was learning so much about music, but not actually playing music. It was too much to stay on top of my studies, and I had very little time for writing and or performance.
Bottom line, I was broke, I was feeling like I was learning more from my friends than my classes, and I [then] was getting lots of outside work (outside of Berklee that is...)"
What was your experience there like?
"I really enjoyed my short stint there. I studied professional music; whatever that means. It was much more about the people and the experiences there. There was such a plethora of quality musicians. In Boston, Berklee, New England Conservatory, and Boston Conservatory are all within a few blocks of each other. This made for an excellent musical environment.
I ended up getting into so many styles and genres of music there. I always ended up getting the MP & E (Music Production and Engineering) students from Berklee to agree to record my musical projects. Although, I usually ended up taking over the session, and started being known for doing such... That made getting studio time even harder to do."
How did you get involved in the LA music scene?
"I started working for East West - The sample and loop company. I sold loops and samples to a lot of producers, engineers, and sessions around town. I used to go and help with different sessions when they would need "sample help" or loops etc. This was in the early 90's when rock records were getting a definite Electronica vibe, like Marilyn Manson, and White Zombie etc.
At some point along the way, my good friends in a band called Powerman 5000 from Boston, got signed to a Dreamworks deal. They had come to me to do some pre-production and some loops for their new record. This was an opportunity to work with the great engineers Sylvia Massey and Joe Barezie. From then on, I kinda swindled my way into working on bigger and cooler sessions."
What is your basic studio layout: Monitors, mixer, DAW, outboard gear, software, etc.?
"I currently have a new AMD 64bit DAW running Nuendo 2.0 with a UAD-1 card, and the TC card also. I have 6 Tannoy powered 8" monitors, with a 10" sub. I use the Sony DMXr-100, mostly for the inputs, pre's and eq / compressors. I have a UA 2-610 and a stereo pair of X-73 remake Neve rip offs. I have some original 1073's and 1081's, a re-issue LA2A, and an 1176. I also have a whole other rack of stuff that I never use anymore."
Do you have any secret tips or techniques involving the UAD-1 or your UA hardware?
"Well, if this is a secret, I must be a genius. I use the 2-610 on everything!!! Drums, guitars, vocals etc. I get so much use out of that pre, I wish I had another 3 or 4 of them. It sounds accurate, but better.
As far as the UAD-1... Uh, again, the secret is to use it as much as you possibly can!!! I love all of the plugs, I use a majority of them on every session I do. I really love the LA-2A on a vocal buss, the 1176 with all buttons in on the drum overheads, The Dreamverb on EVERYTHING!!! And I use the new Precision Limiter on my stereo out buss, or drums, or guitars, or anything really.