Guy Allison
Guy Allison is an LA based composer, producer and keyboard player and has been a member of the Doobie Brothers for ten years, who have received a string of Grammy awards and numerous platinum, multi-platinum and diamond albums. Guy has toured and recorded with many artists including the Moody Blues, Air Supply and Phil Collins.
A founding member of the A&M recording act "Lodgic", a band discovered and produced by Toto members David Paich and Steve Porcaro, Guy also led Polygram's "World Trade" and Interscope's "Unruly Child" to international acclaim and success.
Hi Guy. Thanks very much for taking the time out to have a chat with Camel Audio. Could you introduce yourself?
Thanks Tim. My name is Guy Allison. I'm a songwriter/producer/composer/musician- one of the "amalgams" the current state of art and technology has given me the opportunity to become. I've been playing/studying piano since I was four years old, playing synths since I was seventeen, making records (yeah, I still call it that) and touring now for over twenty years.
How did you get into writing and producing music and being in The Doobie Brothers?
I was introduced to a few of the members through my work with the Japanese artist Eikichi Yazawa. Actually it was John McFee, guitarist with the Doobie Brothers, who hired me for those tours beginning in 1989. In 1996, I was asked to do some session work for The Doobies “Rocking Down the Highway” live album, at which point I was asked to tour with the band. It was a bit of a natural evolution to become creative with different members here and there, in a song-writing capacity - which led to the production work in the studio. Sometimes when you're a writer on a song, you want to be there during the recording and production process to make sure that your original intention is preserved - once everybody involved finds trust in your abilities, that can naturally turn into another hat that you wear.
What do you like most about Cameleon 5000?
While I'd love to say that I dig in deep with every virtual synth that I own, it's just not possible. So when a software synth comes along that immediately sounds rich and has such articulate programming possibilities, it's easy to tailor the perfect sound right from the great programs that are already there. I think that's the mark of a great software or hardware synth -when you can program at an simple level, as well as a deeper level, with great results respectively.
What do you like most about Camel Space and Camel Phat?
Camel Space kills me! The ability to get movement and color like that from just about any source - a loop, a pad, the reverb return from a vocal echo - opens up a completely new palette of sonic possibilities. It's a definite "go-to" program - I could experiment with that software all day. Camel Phat is also very surprising. I was recording with a sample of a Clav in one of my 'romplers' and I needed some more character, some more edge - after going through just a few presets, I found something that, with just a few tweaks, gave me exactly what I was looking for. It's a great toolbox for giving a sound that extra shove to make it speak in a track without having to turn it up. Impressive!
Do you have any production tips for us that CamelSpace and CamelPhat users could use?
With anything, experiment and follow your ears - you really can't go wrong with these programs, something insanely cool is just a few edits away.
What are your plans for the next year?
The touring season keeps us pretty busy, but I always take the time to learn and to be creative. I'll just do what I've done every year so far, let my love of music drive my curiosity and passion.
