GreenScotch Nashville, sometimes referred to as “GreenScotch South”, is managed and operated out of Nashville, Tennessee, by Recording Engineer and Producer Jimmy Copens.  Please refer to the Contacts page for information on how to get in touch with Mr. Copens and the GreenScotch Nashville studio.

GreenScotch Nashville – ONE SHEET

—DAW (Digital Audio Workstation) Logic Pro X (10.4.2),  Logic Pro 9 (9.1.8) / Garage Band
    Solid State Drive w/ Mac OS 10.12.6 Sierra
—Universal Audio Apollo Twin Duo ThunderBolt (plug-in list below)
—Yamaha HS-8 reference monitors / KRK Rokit 5 reference monitors
—Vizio 32” HD television monitor
—Lewitt LCT 640 microphone
—Rode NTK tube microphone
—MXL 990/991 microphone
—Alesis DM8 Pro Electronic Drum Kit +additional percussion pad
—Superior Drummer 3 (w/extensive drum midi)
—EZ Keys w/Grand Piano, Vintage Upright, Rhodes MK I, Wurlitzer 200A, Mellotoon, Dream Keys, String Machine
—Loop Loft multi-track loops, midi loops and samples
—Real Drum Sounds dot com Drum Sample Library
—Axiom-25 midi keyboard
—Alesis V49 midi keyboard
—Mogami and Monster microphone and guitar cables
—AKG K44 headphones
—AKG K240 headphones
—Fender Telecaster ’52 reissue w/Seymour Duncan vintage stack pickups
—Fender Stratocaster ’62 reissue w/Seymour Duncan classic stack pickups
—Squire Vintage Modified Jazzmaster w/Duncan Designed pickups
—Gibson Les Paul Standard w/Seymour Duncan ’59/JB rhythm and lead pickups
—Gibson Les Paul Special double cut with original P-90 pickups
—Gretsch Tennessean with Seymour Duncan Filtertron pickups and Bigsby
—Fender Precision bass guitar
—Alvarez 5-string bass guitar
—National Lap Steel guitar
—Taylor 514 CEAB acoustic guitar w/Fishman electronics
—Larrivee dreadnought acoustic guitar (w/Seymour Duncan sound hole pickup)
—Alvarez Artist dreadnought acoustic guitar
—Gold Tone 6 string banjo
—Egnater Rebel 30 Guitar Amp w/JJ tubes


Universal Audio Plug-ins
—Neve 1073 Preamp & EQ Collection
—Neve 88 RS Channel Strip Collection
—UA 610-B Tube Preamp and EQ
—SSL E Series Channel Strip
—SSL G Series Bus Compressor
—1176 Classic Limiter Collection
—Fairchild Tube Limiter Collection
—Teletronix® LA-2A Leveling Amplifier Collection
—Neve 33609 / 33609SE Compressor
—Oxide Tape Recorder
—Precision Mix Rack Collection Channel Strip
—Pultec EQP-1A Legacy EQ
—Pultec Pro EQ Legacy EQ
—Helios™ Type 69 EQ
—RealVerb Pro Custom Room Modeler Reverb
—Sound Machine Wood Works—Acoustic Guitar Modeling
—Marshall® Amp Collection–includes Bluesbreaker 1962 combo, Plexi Super Lead 1959, Silver Jubilee 2555
—Friedman Guitar Amplifiers–includes BE‑100, Dirty Shirley DS-40, Buxom Betty
—Fender ’55 Tweed Deluxe
—Ampeg Heritage Bass Amp Bundle– includes SVT-VR, SVT-3 PRO, B-15N
—Little Labs VOG “Voice of God” Analog Bass Resonance Tool
—SPL® Transient Designer
—Cambridge EQ
—Softube Amp Room Half-Stack for Guitar
—Softube® Vintage Amp Room for Guitar
—Softube® Metal Amp Room for Guitar
—Raw Plug-In for Guitar (Pro Co Rat distortion box)
—Softube® Bass Amp Room 8×10 for Bass Guitar
—Softube® Bass Amp Room for Bass Guitar


Vintage Effects/Processors
—Shin-ei Uni-Vibe—1960’s original pedal
—Mutron III—1970’s original pedal
—MXR Phase 100—1970’s original “block logo” pedal
—Electro-Harmonix Big Muff Pi—1970’s original “Rams Head” pedal
—Electro-Harmonix Octave Multiplexer—1970’s original pedal
—Electro-Harmonix LPB-2—1970’s original Linear Power Booster pedal
—Yamaha SPX90II—1980’s original effects processor
—Korg SDD-2000—1980’s original effects processor


I wanted to produce music the minute I walked into a recording studio. I had already been bangin out riffs on the guitar for about 5 years when I started making Fripp and Eno like music on a 4-track cassette machine I had back then. I was using every cool effect pedal I could find and afford with at least two delays in my signal chain. Even before I knew what an audio engineer was, I was bouncin two tracks on a four track to keep layering the parts to a song I was working on. I didn’t really think of it like I was engineering something, I was just trying to record my ideas. I didn’t realize til later that this 4 track bouncing method was a great way to start my career, a career I didn’t realize had started.


I grew up listening to a variety of music. There was my mama’s Johnny Cash records, my Aunt & Uncle’s Sonny and Cher records, and my step-daddy’s Charlie Pride records. And then there was my older brother’s records—Aerosmith, Hamilton Joe Frank and Reynolds, Credence Clearwater Revival, some of the best 70’s rock music ever. Looking back it was such an amazing catalog of music to be weened on.


Rewind to 1986, and thats where I spent some time with Atavistic Records recording artists IDF in support of their album entitled Entropy, adding various kinds of rhythm, lead, atmospheric and percussive guitar to their lineup. I remember my Steinberger GL4T guitar was a no-brainer for that gig—that and an E-bow. Of course I also had a slew of effects.


Following a brief stint with IDF, I landed work at Audiocraft Recording Studios in Cincinnati, Ohio, owned by Bucky Herzog. I saw Bucky hangin round the studios a few times back then, and his stories about the legends were always great. At that time, Bucky’s son Bud had taken over the daily operations of the business along with Vidtek–their video production division. I think Bud Herzog was every bit as much of a visionary as his father Bucky. He saw far past those days of analog recording and well into the future of digital recording and cross platform connectivity—which is exactly where we are today.


Incidentally, Bucky Herzog and Audiocraft are most famous for having recorded the legendary Hank Williams. On December 22, 1948, music publisher Fred Rose came up from Nashville with Hank Williams. Hank cut “Lovesick Blues” with the Pleasant Valley Boys. It helped them become well-known studio musicians. On August 30, 1949, Williams returned to cut eight sides at the studio, including his iconic “I’m So Lonesome I Could Cry” and “My Bucket’s Got A Hole In It.”

Pause in the 90’s, and there I am a recording engineer and producer at Audiocraft Recording Studios, Studio B at Ligosa Studios and Goldman Productions. Throughout this decade I went from using some legendary analog gear that purists reminisce about today, to transitioning into the new era of digital audio recording, with the earliest versions of Pro Tools. Some people might laugh at this, but back then, if you had a 1 or 2GB hard drive, you were rockin it. This was also a time in the industry when I worked as an audio engineer for 10 years before I was able to use the moniker, producer. Today if somebody buys a MacBook Pro, they’re a producer the next day.


When I was at Audiocraft, I was fortunate to work with some great bands, companies and talent: The Afghan Whigs, The Screaming Mimi’s, Under The Sun, Lenscrafters, Hasbro Bradley/Kenner Toys for the Jurassic T-Rex dinosaur sounds, The Smothers Brothers, Jerry Springer, Carl Yastrzemski, Boomer Esiason. I also had a write up in the July 1991 edition of Home and Studio Recording Magazine for a self-produced project called I AM I AM.


After leaving Audiocraft, I went to work at Ligosa Studios, Studio B with Mark Liggett. I learned so much just being around Mark and another producer Matt Senitar, aka Emosia, who produced PM Dawn. This was also right around the time that Blessid Union of Souls was working/releasing their CD entitled Home and writing their next record. A lot of talent came in and out of the studio back then. By this time I was probably going on 9+ years working with Pro Tools as my primary digital audio workstation.


While at Goldman Productions, the Pro Tools use continued on, and I was again fortunate to work with some amazing industry talent: Hal Holbrook, Sally Struthers, Lorenzo Music, Alice Beasley, Iguana/Acclaim Entertainment (NBA JAM with Tim ‘BOOM SHAKALAKA’ Duncan).


When I moved to Nashville in 2003, the idea of having a home studio that could really compete with the radio ready sound coming out of the major studios seemed like a pipe dream. So I focused on writing more and recording less. Then around 2006, the urge to record kept gnawing at me. A friend of mine at CMT invited me out to his house to check out his home studio, where he was using Logic Pro (Version 7). After a couple of hours messin around with Logic, I was hooked. The next week I went out and bought a MacBook Pro and a PreSonus Interface, installed Logic Pro and never looked back.


Fast Forward to today and I’m All In—completely immersed in that digital recording world Bud Herzog imagined, where its commonplace to DropBox files and sessions across the internet and work across platforms. But unlike those days with the large analog mixing console’s and racks of outboard processing gear, the innovators at Universal Audio have made it possible for everyone to enjoy those legendary preamps and outboard processors in digital form—and they sound every bit as big and warm as they did back then.


With the exception of some weekend live engineering, almost everything I do now is totally “In The Box” the latest term for all digital producers and mixers. Recording equipment that was once only available at expensive, high-end recording studios is now available to all Universal Audio Apollo owners. UA’s equipment and plug-ins are total industry game changers and have definitely leveled the playing field. I’m confident that in a few short years, everyone will record in a home studio. Its never been easier to get world class, ’Radio Ready’ mixes at home.


These days nearly every artist and songwriter is familiar with the digital recording process, and Logic Pro X is one of the most popular Digital Audio Workstations there is—its like Garage Band on caffeine. And its easy to import and export audio stems from other projects created in any other DAW, such as Pro Tools, Cubase, Ableton, Reason, Reaper—Mac or PC.


Today, Im stilled hooked on Logic Pro, and the newest version is even better than ever with so many great plugins, sounds, drum kits, loops, sound effects, and the drummer app—LPX just an amazing tool for creating music. Smart Tempo, Flex-Pitch and Flex-Tool are an easy way to lock in any audio tracks that might be a bit out of sync or pitch. Logic’s software also contains Mastering Tools that can be used in concert with Universal Audio plugins to finalize and master a project. This kind of musical flexibility is why so many of today’s hit songs are recorded, produced and mixed using Logic Pro X.

Band History: The Desotos, The Nervous Pioneers, IDF, The Hollow, The Voodoo Kings, FM.