Danger Danger – Revolve
The music gear and equipment used by the artists, producers, engineers, and more involved in the making of the 2011 album Revolve.
Music from Revolve
Artists on Revolve
Gear Used On Revolve
Explore the instruments, equipment, software, and production tools used in the making of Danger Danger – Revolve (2011). Click more on each item to see exactly how it was used.
Tony "Bruno" Rey
Roles:
Studio Equipment used by Tony "Bruno" Rey on Revolve
Avg price: $66.00
“Ok, Saraya days (live) I was using the classic ADA MP-1 setup with two Bedrock 4x12 slant cabs/30 Watt Greenbacks in both. Main axe was that Lake Placid Blue ESP strat with a Seymor Duncan in the bridge and a Kramer Sustainer, flip-flop purple/blue. FX were a straight up Lexicon MPX-1 through the FX loop.
When we did the first record, I tracked with that rig (at Bearsville Studios in NY). But we did all the overdubs at Studio-1 in Austin, Texas and Jeff Glicksman, who was producing, brought in this Mashall Plexi that just leveled me. Used it on everything except ‘St. Christophers Medal.’ That track was recorded near 2:00 a.m. and we were drunk, tired and who knows what else, so when the solo came up during basics, instead of staying with the rhythm part, I just went for it. The next day, even though I wasn’t nuts about the tone, I LOVED the solo, so it stayed.
When we did Blackbird (and thank you for the praise... I still love that record), I needed to raise the bar a bit in terms of layers and tone. So I bought a late ‘70s Les Paul Jr. and started getting used to the way it changed my playing. I ended up writing the entire record on that guitar. I did all the demos on my home studio (Korg M1 and Tascam 8-track) and Sandi wrote most of the lyrics in the studio. Funny thing is, we recorded that record just outside of New Orleans and the studio had great vintage gear. So I ended up using a Tele on a LOT of those songs, the Jr., and a Fender Twin, my ADA, and a Roland Jazz Chorus all running together and coming up on six faders.
Danger Danger was another situation like that. The studio had this old Laney Pro-Tube Lead that sounded dope so I used it on the entire record, with my Lexicon MPX-1 and the Blue ESP.”
