So. This is a seemingly boring image of "Snakes On A Floor"...
...but it's so much more than that. As you can see from the snake on the top, The Lantern Sound Recording Rig, which takes up nearly the entire first floor, has twelve inputs (through a variety of mic pre's into Logic), with two headphone mixes sent back to the floor.
The sixteen channel snake on the bottom is the new thing in this old three-story farmhouse. Those inputs run all the way up to the finished third floor loft, where George Howard (Sound of Music Studios, Richmond VA [where David Lowery/Cracker were mustering out of], Bay Burger's weekly "Jazz Jam" series, rebroadcast on 88.3 WPPB - FM 88.3FM) and his "Retro Sound" analog mixing room are now ensconced. That boasts a 24x8x2 Soundcraft mixing console (the one Beck used for "Odelay"), a Protools DAW, and a bunch of outboard hardware processing, EQ, and effects units that we want you shake a stick at! When we lay in an additional 8-channel snake, 24 inputs can go all the way upstairs from the first floor. (Pinch me).
Earlier this week, George did a drum tracking session on the first
floor, recorded into ProTools on the third floor, right through the
console. This maiden voyage of the studio link-up went swimmingly. We're
pumped.
In a matter of days, I will be adding a Logic DAW deal up there, so analog mixes can be digitally sourced that way as well. Stereo mixes from either studio can be routed to any and all digital destinations, or to the Ampex 440 1/4" reel-to-reel that's located between the two rooms in the spacious stairwell.
We're ALL about the analog front end. It's critical, in our estimation. Then there's the incredible comfort that sets us apart. We're the closest thing around here to Big Pink, but with better gear. That said, we've even got the Big Pink "Basement Tapes" mic preamps that were used on every darn thing that made it to tape when Bob Dylan and the Band were hanging out doing their thing.
Read that paragraph again. We're the only ones around here fitting that description. More fun details on that soon. There's a lot of history to research there, and I want to get it right.
Why haven't you cut your basic tracks here yet, and then taken the sessions home to do overdubs? Why haven't you taken what you've already recorded to mix here? Well, you didn't know yet - but now you know.
We have tons of ways to save your budget bottom line. The workflow must necessarily evolve to let the artist accomplish things without breaking the bank, or breaking up the band. Let's talk.
Thanks, everyone. Let's make things, and most importantly, let's make a difference in your art.
-MH-
In a matter of days, I will be adding a Logic DAW deal up there, so analog mixes can be digitally sourced that way as well. Stereo mixes from either studio can be routed to any and all digital destinations, or to the Ampex 440 1/4" reel-to-reel that's located between the two rooms in the spacious stairwell.
We're ALL about the analog front end. It's critical, in our estimation. Then there's the incredible comfort that sets us apart. We're the closest thing around here to Big Pink, but with better gear. That said, we've even got the Big Pink "Basement Tapes" mic preamps that were used on every darn thing that made it to tape when Bob Dylan and the Band were hanging out doing their thing.
Read that paragraph again. We're the only ones around here fitting that description. More fun details on that soon. There's a lot of history to research there, and I want to get it right.
Why haven't you cut your basic tracks here yet, and then taken the sessions home to do overdubs? Why haven't you taken what you've already recorded to mix here? Well, you didn't know yet - but now you know.
We have tons of ways to save your budget bottom line. The workflow must necessarily evolve to let the artist accomplish things without breaking the bank, or breaking up the band. Let's talk.
Thanks, everyone. Let's make things, and most importantly, let's make a difference in your art.
-MH-
