PreSonus artist Avery Watts recently unleashed “The Takeover,” a dynamic, strikingly produced record that serves as a sort of rally cry to all things Watts. High-volume rock and shouted vocals are all tempered by lush arrangements, staggering track counts, and orchestral (!) elements that place the record a standing broad jump forward from its Rapcore origins. Further cementing the hardworking DIY mindset of its creator, “The Takeover” is also a solo record in the truest sense—Avery played nearly every instrument represented here!
It’s hard to imagine anything that could sound simply bigger than this amalgam of stadium rock grandiosity and lion-hearted hip-hop bombast, but on first listen one realizes: here it is. If the intended effect is to make the listener feel a little closer to Watt’s stature, (6″5′ of hard-working, resistance-training, clean-living alpha male rock stardom) than The Takeover’s mission is accomplished.
Regarding Avery’s choice of PreSonus gear in the studio, he says:
“In studio, I’ve found the Studio Channel, BlueTube DP, TubePre and HP4 to all be invaluable tools. The simplicity and warmth of the tube preamps makes for an excellent source signal that is compact, easy to use and won’t break the bank – not to mention they’re as reliable and constant as any device could possibly be. I end up using them for vocals, tracking guitars and even mic’ing auxiliary percussion. I tend to use the Studio Channel primarily as a DI for strings such as the Violin, Viola and Electric Cello. I even keep a TubePre and an HP4 with me wherever I go for recording on the run; you never know when inspiration is going to hit!”
We recently had the great fortune of sitting down with Jonathan Moffett. (AKA Micheal Jackson’s drummer!) It was a wonderful opportunity to sit down with one of the best of the best and discuss drum tuning, his current projects, and his tips and tricks regarding the PreSonus StudioLive 24.4.2 Jonathan, thanks much for sharing your time and wisdom!