Amazing Grace

How Sweet The Sound

A compilation project of the VS Big List

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Gordon Groff

1606 Princess Anne Dr.

Lancaster, PA  17601

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Joanne Abrams Sings Amazing Grace

Track Notes

  1. Bob Belew 4:00
  2. It is an all VS recording! The VS is still a great piece of equipment. I recorded my version of AG on a VS-1680. I used several synths and modules and a Rode NT 2 mic. I ran the NT 2 through an ART PRO MPA and a RNC compressor. I used reverb and delay from the 1680 and used MTK to do the mix-down.

  3. Laurence Scheidle 3:31
  4. From L’s "Praise Tribe 2000 – Righteous Ryhtm" CD.

    Drums, engineering, arranging- Laurence Scheidle

    Keys – Charla Scheidle

  5. Mike Nierzejewski 2:03
  6. Pretty simple job, this one was. Scott Breen wanted to record his pipes in a
    specific church auditorium where he felt his slower tunes sounded best. The
    room was gymnasium size, with a 35 ft peak in the center, tapering to 18 ft
    around the perimeter. Cement block walls and a hard linoleum floor made for
    an extremely live room. No need to reverb anything here. Tried to find a
    sweet spot, then set up an AKGb3000 into a Presonus VXP. A bit of
    compression on the way in, no eq, nothing added later, except maybe a little
    compression on the final mix. Scott thought it recorded well, and with what
    I know about bagpipes, I could only agree.

  7. Brian Simpson "Whistling Past the Graveyard" version 2:41
  8. Brian Simpson "Remembrance of Humanity" version 3:53
  9. Brian Simpson "Traditional" version 2:45
  10. Actually, the Secret Origin behind version 1....I tried to do a reggae
    version. But since I really suck at playing instruments, I blew it...played
    a (terrible) piano (actually my PMA5) and a bad guitar, and tried to sing
    over, talk about instant headache. So that's on a zip disk
    somewhere, unmourned!

    So I (naturally and stupidly) thought, let's work from the vocal backwards!
    Then, my metronome/rhythm box (the "drums" in version 2) wouldn't work...I
    turned on my Moog and set the little blinky light (sorry for the tech talk)
    so that it was kind of a reggae rhythm and sang to that. Then, abandoning
    the reggae idea, I thought about what Janet Dagley had said, about the song
    coming from surviving a storm through God's grace, and, well, had to
    WrathBotize that. (My secret to playing double bass and cello is that I love
    the instruments, but can't play them at all...the cello, if you listen REALLY
    close, actually plays the AG melody, but the bass just drones...hey, much
    like my emails! wow!)

    As for version 2....that came from a dream, where I heard the ultimate
    "industrial" version of AG. And I thought, what would machines do if they
    encountered ideas (long after we were gone) about man, and God, and faith,
    and came across this song? And tried to adapt it to their experience of
    existance? What would they do? (First of all, they would get batteries for
    the rhythm box, which I did.)

    So that's where THAT one came from. And as I said, version 4...I figured, no
    one would do a traditional one! I'm glad I'm wrong about that...other folks
    could do it much better than me.

  11. Jari Riitala 3:16
  12. Arranged, recorded, mixed and "mastered" by Riitala on VS-880 Vxpanded MT1 mode and Sound Forge.

    Vocals, guitars and sequence by Riitala

    Vocals (lead, harmonies and the seven-part choir, the latter submixed to a stereo pair) recorded with an AKG C-1000S condenser mike via the VS-880 mic preamp (except the 2nd verse high octave, which was in fact generated by the VS voice processor). A touch of Autotune added, audio moved back and forth with VS Transfer. Lead vocal quite heavily EQ’d (bottom removed and 4...5k accentuated). Some reverb and a short delay for thickening doubling effect added at mixdown.

    Acoustic guitars (solo and rhythm under the first electric solo) played direct to VS with a Yamaha CPX-15 (my latest toy). Some reverb and the doubling delay added to the solo.

    Electric guitar solos played with Jackson strat 2 single coils/humbucker at bridge, through a Zoom 9030, with something close to standard patch Long John. The final ending effect created in Sound Forge by processing the guitar track (there are also D-4 Tomb Slams in the same place on both sides as a stereo pair making up the total sound but they’re quite low in volume).

    Drums come from a D-4 (driving beat in the solos), D-70 (blips and blops in the beginning) and two or three alternating Acid loops, the latter VS-transferred to the VS. Synths from a Korg Wavestation SR (intro pad, piano, string pad under the acoustic solo), a D-550 (2nd verse fills) and a D-70 (bass throughout, mallets in the 2nd verse and the last chord). All synths mixed in Tascam 644 and brought to VS-880 via the stereo input except the intro pad which plays from the VS because it was modulated (off-line) by a drum sequence using the VS vocoder.

    Automix recorded digitally to DAT and transferred digitally to PC for processing with Waves RCL and Ultramaximizer in Sound Forge.

  13. T-Von 3:53
  14. Acoustic Guitar - Taylor Big Baby, Electric Guitar - Parker Nitefly Version IV
    Strings - Korg T3, Sanken CU41 Dual Capsule Condenser
    Joe Meek VC6Q, VS880, VST/32 G3/350 Mac

  15. Ken Totushek 7:02
  16. Amazing Grace
    By John Newton, Arranged, produced, and recorded by Ken Totushek

    Vocalists: Linnea Totushek, Kendall Griffith, Peris Ruiru,
    Shannon Soares, Anna Lisa Madeira
    Musicians: Guitars, drums, percussion--Ken Totushek; Piano--Bob Costa
    and Anna Lisa Madeira; Bass--Mark Mullen; B-3 Organ--Phil
    Madeira (Phil appears courtesy of and
    Recorded and mixed at Graceworks Recording, Barrington, R.I. ©2001, Ken Totushek

    Equipment Utilized: Roland VS1880 Digital Workstation 6 Gig Hard Disk w/ Two Effects card,
    Roland CD-RW Recorder, Focusrite Green 3 mic pre, TC Electronics Fireworx and Gold Channel, Mackie HR28? Monitors, Mics: Neumann TL 103 and Neumann 184 (guitar), 103 and AKG C414 TLII on voices, BreedloveC22 and Bourgeois acoustic guitars, Roland DR5 and SPD 20 Drum Machines (for Bass, Kick, snare--cymbal and Hi Hat are real), Roland G-600 Keyboard Synth (piano patch), Joe Meek VC-7 mic pre, Hammond B3 Organ, Bass recorded direct, 5 lovely voices each representing different stages of a person’s lift (in this case a woman), and God’s steadfast and amazing grace throughout as envisioned and reflected upon by the young girl who starts out and then ends the song.

    Effects used--various reverbs from VS and TC Fireworx. Stereo mixdown has no MTK applied. Ran out of tracks and automix markers as usual, so I ended up bouncing a few sets prior to final mixdown.

  17. Stephen Foust 2:59
  18. Vocals: Shannon Case

    Input chain: RCA6203 Vintage Ribbon Mic > DBX386 pre spdif > VS1680 > Sound Forge

  19. Mike Fishell 2:54
  20. Rick Knepper 3:32
  21. Vocals: Anonymous "Church Ladies", Slide Guitar – Mike Fischell, Voice of God – Lisa Browning. Recording, Mix and Mastering by Rick Knepper.

    "1.) I used professional equipment
    2.) I employed top-notch vocalists and players
    3.) Sounds great"

  22. Nancy Groff 3:54
  23. Male vocals and words- Clyde Lucas, Female vocals – Joanne Abrams, Piano and Keys – Nancy Groff

    Input chain for miced tracks: Sennheiser MKH-40>Millennia Media HV3B > Apogee Rosetta A/D > VS880EX. Keys- Kurzweil 2500X > VS880EX. Recorded, mixed and "mastered" by Gordon Groff.

  24. Davor Pavuna 2:03
  25. It was very simple: I recorded 4 X 2 stereo tracks:
    a) Gibson J-200 in open G through the Neumann TLM 104 and
    the small diaphragm Oktavia 012 (on the neck)
    b) then Martin D-42 background and
    c) the 12 string Yamaha - melody played on lower strings
    d) Martin D-42 re-recorded again in special open tuning

    I mixed it down to 2 tracks then transferred to Mac ProTools
    and by using Waves NPP did the pre-mastering --> burned CD.

  26. Victor Paul 5:05
  27. Recorded on two VS-880's using 67 tracks. New music written by Victor
    Paul. Produced, arranged, recorded and mixed by Victor Paul.

    VICTOR PAUL: Godin Multiac classical guitar, Roland GR-1, vocals.

    TONY CHRISOS: Paul Reed Smith electric guitar, Digitech 2120 amp,
    Marshall EL34 100/100 dual mono bloc amp, drums, vocals.

    JERRY CURRATOLO: Spector electric bass.

    JIMMY TSOKAROPOULOS: Godin Multiac classical, Roland GR-1.

    MARY SPLASH: vocals.

    TRACK 1: Tony/electric guitar (left). This track is a pre-mix of 4
    tracks, solos and fills, cool plate reverb and tape echo, panned left at

    TRACK 2: Tony/electric guitar (right). Fills and harmonies, effects same
    as track 1, panned right at 2.

    NOTE: We experimented by tracking the PRS/Digitech/Marshall cabinet with
    a D112 bass drum mic, thinking it would kill the highs some and fatten
    up the guitar sound but we ended up having to cut the highs anyhow. Tony
    has since tracked his setup using a Shure Beta 57 and highly recommends

    TRACK 3: Jimmy/Godin/GR-1. fills for the third verse and middle solo
    section. panned at 2.

    TRACK 4: Jerry/bass. went directly into the VS-880. panned center.

    TRACK 5 and 6: Tony & Mary/background vocals (left & right), mixed down
    from four tracks, used a DigiTech Vocal Harmonizer and reverb. track 5
    panned at 9, 6 panned at 3.

    TRACK 7: Victor/Godin classical guitar solo right after end of vocals,
    reverb and tape echo added, panned at 2. all Godin tracks input chain
    Godin > GR-1 > Roland.

    NOTE: All of Victor's guitar tracks were played in open E tuning.

    TRACK 8: Victor/Godin end solo section that follows track 7. everything
    the same as track 7

    TRACK 9 & 10: Control tracks for the two VS-880's

    TRACK 11 & 12: Victor/Godin. a left/right pre-mix of six tracks (rhythm,
    fills, harmonics and GR-1), panned hard left and hard right.

    TRACK 13: Victor/vocal. reverb and tape echo used. panned center.

    TRACK 14: scratch bass track. not used.

    TRACK 15 & 16: Tony/drums. pre-mix of seven tracks. recorded and mixed
    dry except for reverb on the snare. panned hard left and hard right.

    NOTE: Tony broke in his four new AKG C-418 mics (snare and three toms)
    and loved them. calls them a drummer's dream because of they being so
    powerful and so small and out of the way and for the way they clip right
    on to the drums.

    This was a good learning experience for us. We made mistakes and learned
    from them. Scheduling was difficult and we ran out of time resulting in
    us having to use scratch tracks in some cases. But we had a lot of fun
    with it and hope everybody enjoys listening toTrickshot's version of
    Amazing Grace.

  28. Brian Glock 4:18
  29. Equipment
    Recording: Roland VS 880 Expanded
    Mastering: VS880>Echo Gina>WaveLab 3.0 w Mastering Edition Plug ins Event 20/20 bas
    Instruments: Mini Moog, Korg Z1, Roland S50, S550, D50, Chroma Polaris, Yamaha DX7, Memory Moog, Native Instruments Pro 52 soft synth. Boss DR770
    Mackie 1604 VLZ pro JL Cooper Rev2 MIDI patch bay

    Track Break Down:
    Section one
    Track1: Mini Moog manual filter sweep for wind, Track 2: Mini Moog & S50 for rain, Track 3: Mini, Moog and S50 for thunder, Track 4: Mini Moog low F drone, Track 5&6: Korg Z1 Arppegiated pattern
    Track 7: Polaris with just the reverb output, no direct signal, Track8: Z1& S50 Choir

    Section 2
    Track 1&2 verse 1,2,4 Z1 verse 3 D50, Polaris, S550, Track 3: Mini Moog Bass, Track 4: Z1 & S50, Clavinet. Track 5&6 : Z1 & D50 organ, Track 7&8: DR 770 drums

    Section 3
    Track 1: Mini Moog clock chime, Track 2: Z1,D50, S550 Acoustic Bass, Track 3: D50 single note pad
    Track 4: Memory Moog.. Sample and hold noise, Track 5 Z1 &DX7 arppegiated bells
    Track 6& 7: Z1, D50, DX7, Polaris, Pro52 Strings, Track 8: Z1 drone

  30. T-Von & Nancy 4:37
  31. This was an accident. T-Von sent us a CD that included many really great songs he has done with a nice cover, etc. After the last named track was one that I assumed was his Amazing Grace submission. I played it a couple of times and could not hear Amazing Grace anywhere in there. Of course, this came in after BIS’s submission, so I was not assuming anything at this point! I asked Nancy if she could hear AG in it and she started singing the AG lyrics along with T-Von’s piece. I thought it sounded pretty good, so ripped T-Von’s track to PC, spdif’d it (at 48k) to my VS880EX and recorded Nancy improving AG lyrics to it 3 times – without listening to any of her previous takes. When played back, it was really neat how her three takes meshed together. It was pretty busy and masked the guitar too much, so we re-mixed it, dropping out some of her vocals in spots and set panning to give space to everything as much as possible.

    I found T-Vons wonderful AG submission on the track after this on his CD. Thanks to T-Von for permitting us to use his piece and apologies to him and other Guitar aficionados out there for wrecking it!

  32. Ron Oslund – "Roomful of Ronnies"

One piano via my MIDI setup and a total of 24 vocal tracks when all is said and done. Each vocal was recorded using the AT4047/SV through the Mackie 1604 to the VS-880. Recorded dry both on the EQ and effects side. Large Room reverb was added for the final mix which was done to Sound Forge on my Intel P200 PC.

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