BIO :
New York City based guitarist, producer, and engineer James Dellatacoma spends as much time
in the studio as he does on the stage these days. Mainly known as the long-time studio engineer for producer Bill Laswell, he has also worked with such acclaimed artists as Herbie Hancock, Nine Inch Nails, Matisyahu, and Lee Scratch Perry.
As the guitarist for New Jersey based bands Zelda Pinwheel and Pidgin Droppings, James developed a style that explored sonic boundaries while staying heavily rooted in rhythm.
He is currently a partner in the True Groove Records label (alongside internationally renowned guitarist, vocalist, songwriter and producer, Tomás Doncker), whereJames not only shares the stage with Doncker and his “True Groove All-Stars”, but can also be seen performing his own music under the moniker Touchy Feely. His latest EP titled “Title Huevo” was released in 2019 on True Groove Records. It is described as “an audio journey that shuffles between electro-psychedelia and anthemic riff-rock”. Look out for more music!
1) There's been an increase interest in home recording because of the shelter-in-place decrees. Can you offer any tips or sound essentials to those of us just getting started?
Sure! Without getting too deep, it’s probably important to find a space in your home that allows you to work comfortably, and sounds good, not only for acoustic recording but for monitoring playback. I always suggest that home recordists find a room that isn’t so “live” or roomy sounding.
My other suggestion is to both research and experiment. Research meaning, that if you are new to home recording, you’ll probably come across devices, software, and plug-ins that you’re not sure what the basic functions/parameters are. Don’t be afraid to reach out to a friend in the biz, or consult with an audio professional you trust. There are also countless videos online. When I say experiment, I mean there are really no “rules” to recording your song or finding new sounds. Trust your instincts, and have fun!
4) You mentioned you play guitar, how did you get started and what are some of your influences?
I got started in music around age 7, when I decided to play trumpet at school. I quickly shifted toward guitar, as I thought it was a much cooler instrument. Obviously, I hadn’t heard or seen Miles Davis, at that age. As an early teenager, I was more into metal, like Motley Crue, Anthrax, and Metallica.
It was my older brother who eventually turned me on to 60’s rock music, like The Beatles, The Doors, and The Who. Eventually I became obsessed with Hendrix and Led Zeppelin. This was an important time in my guitar playing. I was hearing fuller chords, different tones, effects, and more emotion in the lead playing. It was also a time when I really started listening to records for how they were produced. My obsession became dissecting the sounds and layers I heard on those records, and find out how they were doing that.
The other major influence on me was the music of the 90’s, in 2 ways. One, I always loved hip hop from when I first heard “Walk this Way” (Run DMC/Aerosmith). But in the 90’s, Hip Hop and sampling was becoming a true art form. I really started to get into digital samplers, drum machines, and old Funk records.
The other aspect of 90’s music I really like, were artists that embraced the lo-fi approach, like Beck, Ween, and The Mountain Goats. This sound was like punk rock for me. A main reason why I started to do 4-track recordings at home. Check out my solo project, Touchy Feely - Title Huevo, on True Groove Records. I think it’s a good representation of all of my influences.
5) How do you feel about the state of the industry, especially now that all live shows are conceivable shut down for the rest of 2020?
It’s a drag! As a musician, I have had several gigs canceled this summer. The worst part of this is not being able to play on stage with my bandmates! There is a payoff in the energy that comes from musically communicating with your “brothers and sisters.” This can’t be replicated virtually. It’s an energy that extends into the audience. It’s a huge loss for concert goers, as well.
As a sound tech, there is also a lot of work that has been lost, due to concerts or festivals being cancelled. The whole technical workforce is taking a huge hit, economically. Fortunately, with my diverse skill-set, I can direct my focus on mixing and doing session guitar work, remotely.
6) Why do you use the Nobels ODR-mini?
I like to try out all overdrive pedals distortion pedals. I find they all have unique qualities, not good or bad. When I plugged the Nobels ODR-mini, I loved the tone right away. I almost always use a slightly dirty rhythm tone for rock and blues playing. In its minimal setting, the ODR-mini gave me great break-up but with the clarity that I need, especially when I play big chords. Then, I cranked up the drive and I got a great sound for playing leads. It’s a big sound, that’s not washed out, and has great sustain! One more thing! It’s a great size for my pedal board. I’m carrying a smaller board these days for gigging, and it’s great that I can add this pedal without any space issues. Use this if you want, I came up with a great tag. “Nobels, no whistles, just great tone!”