• Register
  • Help
Results 1 to 3 of 3

Topic: Jim Corrigan - "Rebel Rouser" (JABB)

  1. #1
    Join Date
    Oct 2000
    Orcas Island

    Jim Corrigan - "Rebel Rouser" (JABB)

    Jim Corrigan did a 16-ch mix using JABB and mixed it down to 2 channel.
    This is an arrangement of Duane Eddy’s Rebel Rouse (from 1958) that begins with a Dixieland group and then evolves to a hard driving early rock arrangement with a huge horn section.

    Here is the link:

    Rebel Rouser incorporates the following from the JABB library: tuba, 3 tenor trombones, 1 bass trombone, 3 trumpets, contrabass sax, bari sax, 3 tenor saxes, 2 alto saxes, 1 clarinet, Steinway piano (rhythm piano) and Fretless bass He also used a real Fender Bajo Sexto baritone Telecaster, V-Drums and a “tack piano” from a Kurzweil PC-88 keyboard.

    Jim is a well-known sample developer who has produced the acclaimed Nashville High-Strung Guitars. He is also doing amazing pioneering work in surround sound.

    Thanks Jim for sharing this with use. Excellent arrangement and great chops!

    Gary Garritan

  2. #2

    Re: Jim Corrigan - "Rebel Rouser" (JABB)

    Fine arrangement on this, Jim, enjoyed listening.

    I found the players wandering around the room distracting, though... lol.



  3. #3

    Re: Jim Corrigan - "Rebel Rouser" (JABB)

    Thanks for listening David,

    This 2-channel mix is derived directly from the 16-ch mix. All of the front-to-back panning disappeared, and the Left-Right panning remained. This 2-ch mix is intended for the listener to make a comparison to the 16-ch version, as much as possible.

    The 16-ch surround mix creates a live arena sound with the drums and rhythm piano at the rear of stage and the horns left and right. The horns pan with the parts from left to right as one would imagine a choreographed stage production with musicians "putting on a show."

    The baritone guitar pans all over the soundfield when given a chance by the horns, and during the Latin break. Near the end of the piece, the tambourine and tack piano pan in opposing circular patterns. Pans are tempo-synced.

    In the surround mix, each horn emanates from its own speaker, and there is no ghost imaging other than the panning transitions. So there is remarkable clarity and “liveliness” in the soundfield.

    I hope this explains why the 2-channel mix is the way it is.

    Best wishes,


Go Back to forum


Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts