GEAR
CONSOLE
Solid State Logic 4048G
G+ Computer
Total-Recall
Automation
32 G-Black EQs
8 G-Brown EQs
Recapped in 2013
RECORDERS
- ProTools HD10, 24 In, 64 Out
- Digidesign 192 HD Interface (x3)
- Sony APR24 - 24 Track 2" Analog Recorder
- HHB CD Master Recorder
- Panasonic SV-3700
SYNCHRONIZATION
- CBElectronics SSL/USB/MMC
- Digidesign SYNC-HD
- Timeline Lynx2 Syncronizers (x2)
- Timeline Supervisor/LynxNet
EQUALIZERS
- dbx 1031 EQ
- Lindell PEX-500 Pultec EQ (x2)
- Orban 622B Parametric EQ (x2)
- WA Pultec EQP-1 EQ (x2)
MONITORING
- Adam A77X
- Urei 809
- Yamaha NS10 Studio
- Tannoy System 800A
- Hafler P4000 Power Amp
- Hafler P1500 Power Amp
EFFECTS
- Eventide H3000 D/SX
- Lexicon 550
- Lexicon PCM 80
- Roland SDE-2000 Delay
- Roland SRV-2000 Reverb
- TC Electronic M-One (x2)
- TC Electronic D-Two
- Yamaha SPX990
COMPRESSORS
- dbx 166 stereo
- dbx 160A (x2)
- Presonus ACP88
- WA 1176 (x2)
MICROPHONES
- AKG C414 B-ULS
- AKG C1000 (x2)
- AKG D112 (x2)
- AKG Solid Tube
- Audio-Technica AT3528A
- Neumann U87
- Oktava MK-012-01
- Rode NT1 (x2)
- Sennheiser E609 (x3)
- Sennheiser E604 (x6)
- Shure SM57 (x6)
- Shure SM58 (x2)
- Shure SM81 (x2)
INSTRUMENTS
- PDP/DW 7 piece drum set
- Zildjian and Sabian cymbals
- Korg Poly-61
- Korg O1W-FD
- Roland JV80
- E-MU Planet Phatt
- E-MU Procussion
- E-MU Proteus
- Ensoniq EPS-16 Plus
- Yamaha TG-500
- Yamaha Motif-6
- Marshall JCM900 Guitar Amp
- Marshall JCM900 4x12 Cabinet
- Peavy Triple-X Ultra Guitar Amp
MIC PRE
- API 512c (x2)
- Alctron MP73a (x2)
- Cranborne Camden (x2)
- Manley VoxBox
MORE INFO (for techies like me who care about this stuff)
The entire studio is wired with Mogami low-oxygen, multi-core 8-channel cable — fully balanced and terminated with Neutrik connectors. The live room tie lines run through custom ProCo snake boxes, and every patch cable, XLR mic cable, and instrument lead is ProCo as well.
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Power was just as important as signal. The studio’s electrical system is triple-grounded with more than 30 feet of earth-ground rods installed in multiple locations. We completely replaced the electrical service in 2007, and the result is an extremely quiet, hum-free power environment throughout the system.
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The SSL console got a full recap in 2013 — a project I personally completed. Additional technical work on the desk was handled by Bob Shuster, helping keep the console in top shape.
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A year later, in 2014, we built a detached “machine shed” to house the SSL power supplies and computer, along with some extra storage space. This change freed up valuable control room real estate and, even better, eliminated heat and fan noise from the main studio. The shed is connected to the studio via a 6" flexible underground conduit.
FLOOR PLAN
When we set out to build the studio, we started with a blank slate: a two-car detached garage. It was a solid cinder-block shell with just enough attic space to tuck away HVAC and storage, which made it the perfect candidate for a serious build.
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We wanted to do it right from day one, so we went with a full “room-within-a-room” design — completely separate walls and a brand-new ceiling floating inside the original structure. The garage had a modest 9' ceiling, and after installing bass traps and acoustic treatment we landed at a finished ceiling height of about 8'5".
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From there, we focused on shaping the sound of the room itself. We built splayed walls and intentionally avoided parallel dimensions to keep room modes tight and well-distributed. Built-in trapping throughout the space gave the low end a smooth, controlled response that feels natural when you sit at the mix position.
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We kept construction practical but effective. Standard 2x4 and 2x6 framing, rock-wool insulation, and dual layers of sheetrock went up on resilient channels, with Green Glue sandwiched between layers for maximum sound isolation. The result is a quiet, solid room that doesn’t leak sound into the neighborhood.
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The front wall became the heart of the space. We built a full soffit to house the Urei 809s and added a slat-wall diffuser/trap that works down to around 300 Hz. Behind it, deep bass traps (with hanging baffles) tame the low-end all the way down to about 80 Hz.
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The left and right walls got matching slat-wall treatments for symmetry and diffusion. They handle energy down to about 500 Hz, while offset side traps take care of the midrange up to roughly 1 kHz — giving the room a tight, balanced sound without feeling overly dead.
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At the back of the room, the wall is framed to pack in a mix of semi-rigid panels, loose-fill absorption, and fabric-covered baffles, creating a 12"–18" deep trap to keep low frequencies under control. Capping it off, we hand-built and mounted a QRD-13 diffuser for balanced scattering.
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To keep things clean, we buried 6-inch PVC conduits under the slab for cable runs. Everything stays hidden, so the room feels open and uncluttered.
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In the end, we got exactly what we wanted: a room that’s accurate, inspiring, and ready to translate mixes anywhere. It’s not just a garage anymore.
