The Lantern Sound Recording Rig [aka "LSRR"] is a private “destination recording studio” situated in a bucolic, historical, three-story, eleven-room farmhouse, where artists can live, eat, and breathe their recording to completion. We tell those who haven’t visited yet that it’s like making a record inside a Norman Rockwell painting that hangs in an Edward Hopper house on a 40 acre farm.
It is available to the public for bookings, and we'll beat the rate of any comparable studio around.
A core Apple Logic® recording DAW is surrounded by a full variety of microphones and mic preamps, vintage drums/amps/instruments, and a 1929 Hazelton Brothers (NYC) baby grand piano. A simple & clean signal path philosophy spreads across three floors of various rooms, chambers and isolation closets all the way up to RetroSound, George Howard’s loft on the third floor, a Soundcraft Console / ProTools environment with tons of outboard analog gear.
Quick setups, nice comforts, pleasant people, and fantastic vibes are our trademarks. The LSRR is located less than five minutes from the Hampton Jitney, the Long Island Railroad, and the Long Island Expressway in the Eastern Pine Barrens of LI, NY.
What The LSRR Does.
For "Exile on Main Street", The Rolling Stones rented a villa, Nellcôte, in Villefranche-sur-Mer, near Nice, and turned the basement into a recording studio.
Bob Dylan and The Band wrote and recorded a ton of tunes at Big Pink, Rick Danko's rented house in Saugerties, NY. Dylan would later tell Jann Wenner of Rolling Stone, “That’s really the way to do a recording—in a peaceful, relaxed setting—in somebody’s basement. With the windows open … and a dog lying on the floor.”
It is this philosophy of putting the artist in a mode of ultra-relaxation that drives our recording methods at the LSRR. Everything we do must necessarily accomplish that end.
We've been helping artists make records since 2009, and since October 2014, the LSRR has been operating in a 1920's farmhouse on a 40-acre farm in the Long Island Pine Barrens, with very few distractions, a comfortable vibe that is unmatched in the area, and a commitment to doing things differently than conventional studios.
I've worked in some studios that feel like you're in the Emergency Room at the local hospital. We strive to be the polar opposite of that, and artists truly love the vibe here. There's a giant country kitchen, and guest rooms, which artists can always use, at no extra charge. Then there's the sizable main stairwell that can be used as a reverb chamber, or for ambient/drum sounds. We use the house as an instrument. There's 40 acres out back for break time and strolls.
In the end, if the artist does not feel as if we are living, breathing, eating, and occupying their record here until it is lovingly completed, then we have failed. We haven't failed yet.
We recordists, more or less, are all working with the same / comparable gear. As they say, "it's the ear, not the gear". But some the gear we have DOES set us apart from other area studios.
The early 1960's Rogers "Holiday" drum kit (red sparkle, made in Dayton, OH) that records like a dream. It's my Rock (and Roll) of Gibraltar drum kit.
|Tom Curiano (Garland Jeffries) behind the Rogers drum kit|
There's an extensive quiver of guitars and basses, shown here in the control room rack, all of which are here for artists to use at any time. There's a 1964 Ampeg B15N bass amp (shown in Iso Closet No. 3, under the stairs) that has been a gold standard of vintage recorded bass sounds in the industry for a long, long time, along with a 1965 Ampeg Gemini II guitar amp.
Among the many microphone preamps we have are two channels of Ampex 602's. These are the same mic pre's that were part of the 2-channel portable Ampex 602 tape recorder used by Garth Hudson to record "The Basement Tapes" at Big Pink with Bob Dylan and The Band.
We use the Ampex 602's most often for electric guitar & bass amp DI/mics, but they're also great for vintage vocal sounds, room ambience, and keyboards. They've got an amazing inherent compression quality.
|The Ampex 602 mic preamps, pictured in original "suitcase" rack,|
which also used to accommodate the two-track tape machine portion.
What I Do.
I approach the recording process from the artist's perspective, and always with the artist first in mind. Sometime around 1983, in my first band, we took control of the recording process ourselves, because we had some experienced radio guys in the band, and because doing it ourselves was the only affordable way! One track reel to reel machines led to two, four, eight track machines, used where we could borrow time on the cheap, and then by procuring gear for ourselves, piece by piece.
|Mick Hargreaves in the first floor control room at the LSRR|
A bunch of bands, national and international tours, many records, storage spaces, and residences later... I realized sometime around 2009 that I had the right stuff, and gear, to begin producing recordings by other artists under the "Lantern Sound Recording Rig" name. For quite a while, I had no dedicated space - I'd record wherever possible; basic tracking and mixing in borrowed houses, overdubs just about anywhere, mixing at home in my apartment.
|My bass playing is included on any recording that needs it.|
|MH tracking acoustic guitar in passageway between the drum room and the front parlor.|
George Howard's 3rd Floor
Analog Mix/Tracking Room