James Dellatacoma

Exclusive Interview

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!

2) What about gear? I see some players recording songs directly to their phones? Can you give us some suggestions on the minimum required for decent home recording? Basically, how do I plug my guitar or bass into my computer and record?

I won’t tell you what DAW (digital audio workstation) to use at home. I’ve heard great music recorded at home, using Garageband, which is pretty much free for anyone with a Mac. There are other budget related software for anyone just starting out. Just find the one that works best for you.

Next you’ll need an audio interface. This is a device that connects to your instrument to your computer via a USB cable (or Thunderbolt). It will have inputs for directly plugging a guitar or bass, an input for connecting a microphone, and outputs for monitoring your work. These range all over the price map. Do some research to see which interface has the features you’ll need to work successfully.

I suggest a pair of monitor speakers for listening to playback are helpful. If your workspace is a smaller room, than you don’t anything too big. I have a pair of Yamaha HS5 (5” monitors) at home that work perfectly with room that I’m set up in.

You’ll need a decent pair of headphones for when you record, acoustically, or for when you’re working late and don’t want to disturb the people in your house, or your neighbors. Most interfaces these days have a ¼ inch direct input for instrument recording. So you can plug your guitar/bass right in. Really simple! And most DAWs come with amp simulation plug-ins for dialing in realistic tones. But if you want to record your amp or an acoustic guitar, you’ll need a microphone. I always suggest at least one good dynamic mic, like a Shure and one Condenser mic. Condenser mics are all over the price map, as well, so choose one that fits your needs and budget.

Lastly, listen to your room and over time find ways to improve the general sound of it. Is it too reflective, is it bassy? You may way want to apply some acoustic improvement material around your room to improve the acoustics

3) How did you start doing sound engineering?

Officially, I got into engineering as a teenager. I had gotten a Tascam 4-track cassette recorder for Christmas. I was mostly making weird punky songs with my good friend. The more we experimented with recording, the more we wanted it to sound better. So, we instinctively got into things like room acoustics and mic placement. From that point, I was hooked!

Also, I’d say being an electric guitarist further sparked my interest in sound engineering. Creating pedal chains, amp equalization, spring reverb! That all relates!

It wasn’t until I was 21, that I decided to go to recording technology school, and look for a pro studio job afterward. In 2000, I landed an internship at Orange Sound, in New Jersey. And I’ve been there ever since, where I work closely with producer, Bill Laswell, Tomas Doncker and True Groove Records, as well as many other great artists and labels.

My discography can be seen:https://www.discogs.com/artist/393390-James-Dellatacoma

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!”