About

 

"Route of The Relaxed Recording Artist"


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 we do.
For "Exile on Main Street", The Rolling Stones rented a villa, NellcĂ´te, 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.”

Putting the artist in a mode of ultra-relaxation is one of our biggest goals. 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. The Lantern Sound Recording Rig exists with very few distractions, a comfortable vibe that is unmatched in the area, a commitment to doing things differently than conventional studios, and a lot of hand-crafted sound treatments to compliment the plaster-and-lath wall construction in this old house!

There's a giant country kitchen. Overnight accomodation is included in full day rates. A sizable main stairwell can be used as a reverb chamber, or for ambient/drum sounds. The house is an instrument.

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.

There's 40 acres out back for break time and strolls.

Vintage Gear.

Some of the gear we have sets 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
A 1920 Hazelton Brothers baby grand piano in the front parlour, made right in New York City. It's built like a tank, and can handle everything from delicate treatments to rock and roll bashing.


Many guitars and basses, some from the 1950's 1960's, are all here for artists to use at any time.




Guitar players are often particular about their amplifier rigs, but they just as often use our house guitar and bass amplifiers.  



Among the many microphone preamps we have are two channels of Ampex 602's. These are the same mic pre's that are rumored part of the 2-channel portable Ampex 602 tape recorder used by Garth Hudson to record the first sessions for "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.


 


How it all happened for me.

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
Along the way, I went in and out of proper recording studios all the time, gaining more perspective and experience each step of the way. In the 1990's I was in The Grip Weeds, who put together an entire studio in a house, where we produced finished records; a big step. Then I slowly began accumulating gear.

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 on location wherever possible; basic tracking and mixing in borrowed houses, overdubs just about anywhere, mixing at home in my apartment.


Then in October of 2014 an opportunity came to rent an entire 1920's farmhouse presented itself, in the Long Island Pine Barrens. Located on a 40 acre former horse farm, this Norman-Rockwell-type, plaster-and-lath, ornate wood-worked residence was perfect.


The control room got installed in a first floor bedroom. This opens onto the main live (dining) room, with wood floor & ceiling, added sonic treatments, an adjacent front parlour separated by French pocket doors, and a large stairwell big enough to use for ambient reverb, and big enough to accommodate a drum kit when we wanted. Recording began immediately, and continues to...

Thanks, everyone!

M.H.


http://www.lanternsoundrecordingrig.com/2017/01/announcing-george-howards-retro-sound.html

George Howard's 3rd Floor
Analog Mix/Tracking Room
at the LSRR

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