Another great production at TRI Studios. I had the privilege of working alongside Mike Fraser (Mixer) for this Album release show. Mike Fraser used very minimal compression and more fine EQ and great Balance of instrumentation. One of the easiest mixer/engineers I’ve worked with. He Just made everything work. The Broadcast was mixed on a pair of NS10′s powered by a Mc’Intosh 275 Power amp. Check out the TRISTUDIOS website for photos and soon video clips of the show.

Here’s this weeks mix of “Broke down palace” performed by FOG feat. Jeff Chimenti on piano. Recorded by myself and Brad Dollar at TRI studios. WATCH HERE: http://www.tristudios.com

Bosendorfer just arrived at my studio. 9 feet, Ivory keys and almost an extra octave on the low end. You can play this piano amazingly soft and very loud. Incredible instrument and records beautifully. 

Big Krit and Grillade!

Here’s a really cool project with ridiculous musicians. I mixed down this project minus a 1 track. Check it out!

Here’s half of what I look at on a daily basis. Monitors are Acheron’s from Meyer Sound. Watching movies in here is huge. 

It’s been a while since I posted anything here. Now working for TRI Studios located in San Rafael, C.A. TRI is a broadcasting facility and state of the art film and audio recording house. Live Shows of your favorite bands can be streamed to you in Full HD Video and Audio. Check out tristudios.com

Got the opportunity to work with the very talented DJ Shadow and engineer/producer Jim Abbiss.

“The ARE” and “Zumbi 808” at Laughing Tiger Studios.

Zumbi of Zion i stopped by for a photo shoot with The ARE for their new project collabo in the live room of studio A. The ARE and myself were finishing up some mixes for the Canibus Album dropping soon, released by Interdependent Media.

Rented this from Larry Cragg out of San Rafael for a very cool session. Its a Oil Can Echo. Actually uses Oil and sounds amazing. But this unit quickly went south, hard to find and very fragile.

Wikipedia:

Invented by Ray Lubow, the “oil-can” method uses a rotating disc made of anodized aluminium, the surface of which is coated with a suspension of carbon particles. An AC signal is sent to a conductive neoprene “wiper”, which transfers the high impedance charge to the disc. As the particles pass by the wiper, they act as thousands of tiny capacitors, holding a small part of the charge. A second wiper reads this representation of the signal, and sends it on to a voltage amplifier, where it is mixed with the original source. To protect the charge held in each capacitor and to lubricate the entire assembly, the disc runs inside a sealed can with enough of a special oil (Union Carbide UCON lb65) to assure an even coating is applied as it spins.

The effect resembles an echo, but the whimsical nature of the storage medium causes variations in the sound that can be heard as a vibrato effect. Some early models featured control circuitry designed to feed the output of the read wiper to the write head, causing a reverberant effect as well.

Many different companies marketed these devices under various names. Fender sold the Dimension IV, the Variable Delay, the Echo-Reverb I, II, and III, and included an oilcan in their Special Effects box. Gibson sold the GA-4RE from 1965-7. Ray Lubow himself sold many different versions under the Tel-Ray/Morley brand, starting out in the early sixties with the Ad-n-echo, and eventually producing the Echo-ver-brato, the Electrostatic Delay Line, and many others into the eighties.

Distant Relatives New Single “Celebrate”

Upcoming album “This Changes Everything”