’ Rose was down the stairs and on her way to the door. ‘There’s breakfast for you on the porch, come on!’ Josh walked out into the sunshine for the second time that day, and headed for the house. On his way past the bunkhouse, Kayla opened the door, and said,’Hey.’ Josh turned toward her, and said, ‘Hi Kayla. Look, I need to talk to you – ‘ ‘And I need to talk to you, too. Uh, truce, ok? What do you say? It’s a little out of the ordinary for me, but I’m actually trying to be nice,’ smiled Kayla. ‘I want to avoid having to wear my label.’ Josh sighed a little guiltily. ‘Another thing that I regret saying. Ok, truce. We’ll talk a little later on. Right now, I’m still smarting from the subtle whipping I just got. She gave me both barrels in her quiet way.’ Josh smiled ruefully. ‘I am SO glad she doesn’t know my middle name.’ ‘Kayla smiled a little conspiratorially. ‘Don’t feel bad. She gave me both barrels earlier and,’ Kayla’s voice dropped to a whisper,’ she didn’t say ‘Good morning’. It was the kind of state-of-the-art toy in 1975 that might have been used by engineers recording Springsteen’s Born to Run sessions or Dylan’s Blood on the Tracks. In the smaller rooms some of the other gear is more mid-range in terms of cost and quality, but I tend to think that such gear is often the best, and can be used incredibly well by someone with a clear understanding of its quirks and qualities. Some of the best sounds can come from using bad gear in a great way, and I have a feeling I could find sounds I’ve never managed before if I could just get Bennie to shut the fuck up and put me on a session. I’ve got another feeling, just from watching Bennie and the others work, that the cheaper gear is cheaper because it rarely gets used. They seemed to have a system down, with very little variation between one session and the next. A bass guitar I watched them record for a country song yesterday was recorded almost identically to a bass guitar recorded for a folky pop song a week.
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