Bell Hollow a dream-pop / shoegaze band from Brooklyn, has a bevy of influences ranging from The Chameleons to Jeff Buckley. The band started in 2003 and filled out to its current line up [which is sort of a quartet -- plus one] in 2005. The band consists of Christopher Bollman (bass), Greg Fasolino (guitar), Todd Karasik [drums], Hillary Johnson [producer / engineer and live keyboards] and Nick Niles [vocals, guitars and keyboards] The band is signed to fiveo2 Records in New York City and released an ep Sons of the Burgess Shale in October 2006 and a full length, Foxgloves in 2007.

Previously we talked to the band about what they used in their live shows. Next up is studio "stuff." Hillary Johnson laid out the pre-production whats and whys.

"We did pre-production for about a month and demoed everything using a Pro Tools and M-Audio setup and mics that either I or Nick own," she says. "Lots of Shure and Marshall mics and these excellent little Karma condensers. We worked out parts ahead of time so we'd save time and money when we got to the actual studio [Water Music in Hoboken, NJ]."

In the studio Niles used a Neumann U67 and a U87.

"I think we ended up using the 67 mostly. A little compression through a Urei 1176 as well." says Johnson.

"Live, I sing into whatever the club has. Usually a 58," says Niles but he adds, "I love the way my voice sounds through a U47!"

Some bands duplicate what they use in the studio close to exactly while others go in a completely different direction. Bell Hollow prefer a happy medium.

"In the studio, I used an Epiphone non-reverse 'Bird with Duncan quarter-pound P-bass pickups but only because the new one wasn't finished at that time." says bassist, Bollman.

Fasolina uses his trusty Les Paul live but has used other instruments to record.

"For recording, I've used some additional instruments I own, including an old Ibanez 12-string from the '80s which I used to add texture to a few songs on our first EP, and my beloved 1911 Gibson F-2 mandolin which I played on 'Eyes Like Planets' from the album," says Fasolino. "On the latter song, our friend Josh Strawn from the band Blacklist guested on acoustic guitar, playing my mahogany Martin D-15."

Johnson notes that in studios you always have more choices before you.

"One of the wonderful thing about working in actual studios is that you usually have an arsenal of amps and toys to play with, so the record has a combination of Bell Hollow-owned gear and Water Music-owned gear," she says. "Currently live, the synths are played using a laptop and Reason software, which is for sheer convenience, but in the studio Nick tracked all the synths with his Korg."

When it comes to amps, again they use a mix of gear.

"I use the same for both: An Eden WT-400 head with an ART Nightbass effects processor through an Eden 4-10 XLT cabinet. It's got some girth." says Bollman.

Fasolino used his amp and some others in the studio.

"Live I use only my old Twin, but for recording the album, Hillary set me up with three amps: my Twin, a second Twin from the studio, and an old Vox, says Fasolino. "My final guitar sound included a varying mix of the three."

When it comes to the difference between the band's live and studio work Bollman says they rock a little more live.

"I think live it probably has some more tooth to it, but I've never heard it as a member of the audience so I can't say for sure," he says. "I have been told on a number of occasions that it "sounds just like the fucking record but heavier!"

One of the time honored questions for those foolish enough to agree to a Gearwire interview: Is there one piece of "dream gear" you do not have and want.

Fasolino dreams of Rickenbackers [which makes sense as they are nice counterpoints to Les Pauls].

"The only other guitar I've really always desired is a Rickenbacker 330 or 360. I always admired the way Johnny Marr and Peter Buck played them, and I do a fair amount of chimey arpeggios in that style which would sound sweet on a Ric," says Fasolino. "I would also love to own and play around with some old '70s delay units like the Echoplex and Memory Man."

Drummer Karasik has a more specific piece of dream gear.

"My dream set now is Budgie's clear pork pie set from The Creatures tour in 2005." he says.

The band is currently promoting their CD and began touring in February. The will hit the Midwest in May. They also plan to put out a digital only ep of remixes. And they are looking for some help as well.

"We're looking for a manager and a booking agent . . . know anyone?" says Bollman.

In fact, we do, his parole comes up in 2009. And he insists the cannibalism was a misunderstanding.