Saturday, February 11, 2017


By Michael Block

A recording studio is more than the acoustic and inspirational aspects of its physical space. It is more than the quality of its equipment. It is defined by the abilities of the engineers and producers who work there. While much of this flies under the radar of the average music fan, musical artists understand that in choosing a recording studio they are also selecting a collaborator that can make or break a project. Pulse took a look at five such Long Island collaborations ...

... Mick Hargreaves, the vet roots rocker and leader of The King Guys, likes to record musicians in their natural habitat. It might be their favorite venue to gig, their homes or a cool space that was found through happenstance. The engineer, producer and musician has transported his numerous equipment-filled cases to all of the above. Many top-level studio folks believe a professional recording requires the silently throbbing nexus of technology that only a studio can offer. But Hargreaves prefers to exploit the acoustic and psychic potential of the particular space he’s working in. Local artist Bryan Gallo chose the Lantern Sound Recording Rig (LSRR) to capture his soon-to-be-released album, The Party Guest. The session was set in an East End cottage with Butchers Blind serving as backing band.

Hargreaves on the LSRR:
“Cowboy” Jack Clement once said that a recording studio is the worst place you can pick to make a record. So I go on location to make records—and that could be some interesting places. A lot of it is about comfort and putting the artist at ease. Overdubbing can be done anywhere.

Hargreaves on making The Party Guest:
The way the Bryan Gallo record happened was that Butchers Blind did extensive pre-production rehearsals with Bryan. When then they came in to record with me they played everything down as a band. They were literally sleeping in front of their amplifiers at night.

Gallo on recording The Party Guest and the LSRR:
I reached out to Mick knowing that he recorded the last Butchers Blind album (Destination Blues) at the cottage. There’s just a great natural sound in there for drums and other acoustic instruments, so everything came out sounding organic. At first I was in disbelief knowing such great sounds could come from a compact unit and not from a fancy high-end studio. That’s a testament to Mick knowing the ins and outs of his equipment and also how to treat a physical space as part of the character of the recording. Essentially, with the LSRR there are even fewer limitations than you’d have with a conventional studio.

Bryan Gallo on iTunes

Cassandra House Interviews Mick Hargreaves about the LSRR

Thursday, February 2, 2017

Confidence Men release new song "Trumpy The Con Man" on #Bandcamp FRI FEB 03 to benefit #ACLU

They came, they recorded a song, they left: THE CONFIDENCE MEN have just dropped a new song called "TRUMPY THE CON MAN" on Bandcamp tonight. The band got SUPER lucky on the timing of this release, as it coincides with Bandcamp's announced donation to the American Civil Liberties Union of one full day's worth of their revenues on Friday Feb 3 2016. Here is an official statement from the band:

"We got this together as a spur of the moment thing. It was fun, but most importantly, The Confidence Men are forwarding revenues from the sales of this performance to the ACLU. It's a "Pay What You Want" download at Bandcamp (including FREE - just enter "0" when prompted), but try to be generous. The ACLU is a great cause and we need them now more than ever. Thanks, everyone."


Saturday, January 28, 2017

Mark Mancini, Anthony Maragni, Don Bracken @ LSRR

Busy here yesterday. Co-producer Mark Mancini (L) spent the afternoon getting the Anthony Maragni (C) recordings into mix mode with us, then Mark tracked evening piano parts on the  Hazelton Brothers baby grand for a Don (R) and Rachel Bracken song.

Wednesday, January 18, 2017

Putting up gear racks in the big live room

These will house preamps, DI's, tuners, headphone monitor processing, and other stuff guitarists, bassists, singers, soloists, and key board players would want. 

Monday, January 16, 2017

Wednesday, January 11, 2017

ANNOUNCING: George Howard's Retro Sound Suite @LanternSound

We are proud to announce George Howard's new analog mixing room RETRO SOUND, a third floor loft studio at the LSRR, built with "mixing outside the box" in mind. 

Retro Sound's George Howard has done it all, early on working at Sound of Music (Richmond VA) which was opened 1994 by Chief Engineer John Morand and Cracker / Camper Van Beethoven frontman David Lowery. George went on to be Head Engineer at Tuff City Records (NYC), and now owns & operates Plus Nine Productions, where he records the incredible weekly Jazz Jam at Bay Burger (Sag Harbor NY) and then produces those recordings for weekly broadcast at Peconic Public Broadcasting's WPPB 88.3FM (Southhampton NY).

The centerpiece of the room is a
24 channel Soundcraft Sudio (UK) desk,
the same mixing console Beck & the Dust Brothers used for Odelay.

From in-house machines running ProTools or Logic, or just about any portable computer or session/stem files that may walk in the door, projects can exit the digital world to be mixed in the analog realm. All matter of mixing and processing, including EQ, compression, reverbs, delays, and other effects is done hands-on "outside the box".

Final stereo mixes can be routed back to digital stereo, or over to one of the reel-to-reel tape machines (two track Ampex, four-track Otari) that reside on the first floor in the stairwell. 


These reel-to-reel machines are connected to both the first floor LSRR control room and Retro Sound on the third floor. Retro Sound can also be used as a tracking room to record performances from anywhere in the house.

Soundcraft 24x8x2 Spirit Studio Console

Digi 003 Rack 8 ch. A/D/A
Focusrite Octo 8 ch. A/D/A
Benchmark DAC1 2 ch. D/A converter
Edirol FA-101 10 ch. A/D/A

ProTools running on OSX
Logic Pro 8 running on OS 10.6.8

Ampex 2-track 1/4-inch Reel to Reel
Otari 4-track 1/2-inch Reel to Reel
Alesis ML-9600 H-Res Mastering Recorder
Technics 1500 2-Track 1/4 Inch Reel to Reel

Event 20/20 Nearfield Monitors
JBL4408 Studio Monitors
B&B Systems AM47 Phase Meter / VU Bridge

Lexicon MPX-100
Digitech Vocalist VR Harmonizer
Digitech DSP 128
Line 6 Echo Pro
Line 6 Mod Pro
Line 6 Filter Pro
Antares ATR-1 Auto-Tune Intonation

Summit 2BA-221 Hybrid Tube/Solid State Preamp
Summit TLA-50 Tube Leveller

UREI LA-4 compressors (2)
Dyna-Mite Compressors (6)
UA 565 Mastering Filter EQ Set (2)

Fender Silverface Twin, modified to closed-back (1954 JBL Blue Back)
Fender Vibrolux
Marshall JCM 800 Vintage Head

Korg Sampling Grand Piano

(1) 1937 RCA 74B
(1) 1970 NEUMANN U87
(2) 1968 NEUMANN KM84
(2) AGK 414 ULS
(2) VINTAGE EV 666
(1) EV RE20
(4) SHURE SM57
(4) SHURE SM58
(2) SHURE SM81
Big Muff
MXR Distortion +
Electro Harmonix Soul Food
Ibanez Tube King
Marshall Vibro-Trem
Marshall Bues Breaker
Marshall Jack Hammer
Marshall Chorus
MXR Phase 90
Line 6 Delay
Roland Compressor
Roland Harmonizer
Roland Digital Delay
(2) Roland TU-2 Tuners
Danelectro Cool cat Chorus
Danelectro Fab Tone Distortion
Cry Baby Wah-Wah
Cry Baby 5-Q Wah Wah
DOD Distortion
Roland D2 Distortion
DOD Juice Box