This indie rock band approached us wanting to capture their live energy while maintaining studio clarity. We spent 3 weeks tracking 10 songs, using our Neve 8424 console to add warmth and character. The drum kit was recorded in our main room with vintage Neumann KM84s as overheads and an AKG D112 on the kick. Guitar amps were miked with a combination of Shure SM57 and Royer R-121 ribbon mics to capture both bite and body. Vocals were tracked using our Telefunken ELA M 251E through the Neve preamps, giving the singer's voice presence without harshness.

An electronic pop artist wanted to blend digital production with analog processing. We set up their laptop and MIDI controllers in Studio B, routing everything through our SSL console for summing. The vocals were recorded using our Manley VoxBox, which provided compression, EQ, and de-essing in one pass. We added texture using our Moog synthesizer and processed the final mix through our Empirical Labs Distressor for punch. The result is a polished single that maintains electronic precision while having organic warmth.

This business podcast records weekly in our dedicated podcast suite. We use Shure SM7B microphones for the host and guests, positioned to minimize room noise and mouth clicks. Each 45-minute episode is recorded to separate tracks for flexible editing. Our post-production includes removing filler words, balancing levels between speakers, adding intro and outro music, and inserting sponsor segments. We deliver finished episodes as MP3 files optimized for podcast platforms, along with raw files for the client's archive.

This jazz quartet recorded their live session at another facility and came to us for mixing and mastering. We received 24 tracks of piano, upright bass, drums, and saxophone. The challenge was maintaining the spontaneous feel while achieving clarity between instruments. We used minimal EQ and compression, relying instead on careful level balancing and strategic panning. The piano was centered with slight stereo width from room mics. Bass sat slightly left, drums spread naturally, and saxophone positioned right-center. For mastering, we prepared two versions: one optimized for streaming services and another cut specifically for vinyl pressing with appropriate RIAA curve adjustments.

This hip-hop artist wanted to combine sampled beats with live instrumentation. We started with their pre-produced beats, then added live bass guitar and Rhodes electric piano in our main tracking room. Vocals were recorded in our isolation booth using the Neumann U87, which gave clarity and detail to the rapid-fire delivery. We used parallel compression on the vocals to maintain dynamics while ensuring they cut through the dense instrumental tracks. The bass was recorded direct and through an Ampeg SVT amp, blending both signals for depth. Final mixes were mastered with attention to low-end response for club playback and streaming platforms.

This acoustic folk ballad required a delicate touch to preserve intimacy. The singer-songwriter performed with acoustic guitar while a cellist added countermelodies. We recorded all three elements simultaneously in our main room to capture the natural interaction between musicians. The acoustic guitar was miked with a matched pair of AKG C414s in X-Y configuration. Cello used a Neumann KM184 positioned near the f-holes. Vocals were captured on our Telefunken ELA M 251E at a distance that allowed for natural dynamics without excessive proximity effect. Mixing involved minimal processing—just gentle compression and a touch of plate reverb to enhance the room's natural acoustics.