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He certainly liked what he could see. I told Amy to take him to the studio and get things fired up.I reminded Holly of what I needed, and she assured me that she was on it.Amy was so ready for this, that she was already playing him what we had done Friday. He liked it. Like me, he loves watching a song build and come together.Since she was running the session, and already knew what steps we wanted to take and in what order, Amy said she wanted to get the bass sound first. I explained to her what strategy I usually use, but she was free to try anything she wanted. We would record the bass DI (Direct Injection) as this gave the cleanest signal possible.Amy had Tim run through it once (Recording it like I had told her). She then told him this would be a take, and hit "Record." Tim is a pro, he rarely needs more than one or two takes to get our bass track. Amy made him do three, before she was satisfied.Then she just told him to noodle around as she played with the EQ. Just as she had. It didn't take long before we arrived at a set of studios that I had neverbeen in before. I hadn't realized it before now, but there was a tieredstructure to their recording studios. Even from the beginning they had seenmy potential and I had been given a large, posh studio to work in. Sam'sTown, while successful, did not draw in the money that I did and the studiothey were using wasn't quite as nice as what I was used to. But it wasstill nice, and the smiles that greeted me when I followed Scott inside thecontrol room told me that they were excited to work with me. I was alsoexcited to work with them."Hello, Scott," an older gentleman greeted Scott from where he was sittingin front of the control panel. The band was in the actual studio, but theystarted for the control room immediately. The man at the control panelturned to me. "Sarah, it's nice to finally meet you. I'm Carl Jorgen." The pleasure is mine," I replied. "You come highly recommended, and itwill be an honor to work with.
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