Studio

About My “Live Recording” Techniques

Inspired by records like Bad Brains’ Black Dots, I’ve been experimenting with executing live, single-day recordings, with minimal or no overdubs. Grown out of the necessity to record my own bands, I now have the ability to record up to 16 tracks at once. If you’re a Milwaukee punk or hardcore band that needs an engineer or producer, I might be able to help you out. My availability is extremely limited, so I don’t take on every project.

If you do not have a mastering budget, I can supply a loud final mix for CD, cassette or vinyl duplication. (However, you really should spend the money and hire someone locally like Justin Perkins (or one of many nationally-known mastering engineers like Alan Douches or Carl Saff.)

Computer

  • 15″ MacBook Pro
  • 2.4GHz Intel Core i7
  • Mac OSX Mavericks
  • 1TB SSD internal drive
  • 16GB RAM
  • external 24″ Apple display for mixing
  • Ableton Push 1 controller

Software

  • Ableton Live 9.6.x Suite
  • Audiofile Engineering Wave Editor
  • Audiofile Engineering Sample Manager

Plugins

  • Slate Digital Trigger Platinum
  • Wavemachine Labs Drumagog 5
  • Celemony Melodyne 2
  • Antares Auto-Tune Evo v5
  • Voxengo Mixing & Mastering Plug-in Suite
  • Waves Kramer Master Tape
  • Waves Aphex Vintage Aural Exciter
  • Valhalla Vintage Verb
  • iK Multimedia Ampeg SVX virtual bass amp
  • iK Multimedia Amplitube 3 virtual guitar and bass amp
  • + many more plugins

Hardware

  • Focusrite Sapphire Liquid 56
  • Focusrite Sapphire Pro 40
  • Edirol FA-66
  • Behringer ADA8000 UltraGain Pro-8 A/D/A converter
  • Tonelux v4 500 series API lunchbox
  • 6 – Classic API vp26 mic preamplifiers
  • 2 – Classic API vp28 two-stage mic preamplifiers
  • 1 – Mnats Rev D 1176 FET compressor
  • 2 – DBX 160XT VAC compressors
  • 2 Furman Power Conditioners

Amplifiers

  • 1969 Ampeg Gemini VT-22 2 x 12″ combo guitar amp
  • 70s Sunn 200s 60w (124w peak) 4/8ohm bass / guitar head
  • 70s Sunn Coliseum “Silverface” 300w 4 ohm bass head
  • 1975 Fender Vibro Champ 5w tube combo amp
  • 1975 Traynor TS-15 15w solid state combo amp
  • 1970s Traynor TS-120 120w solid state guitar head
  • 1970s Traynor TS-50B 50w 8ohm solid state bass head
  • 1981 Traynor TS-60B 50w 8ohm solid state, 1×15″ bass combo
  • 70s Randall Commander I 120w / 1×15″combo amp
  • Ampeg SVT3Pro bass head
  • 1 – 4×10″ 200W 8ohm Ampeg bass cab
  • 1 – 1×15″ 200W 8ohm Ampeg bass cab
  • 1 – 4×12″ 4ohm Carvin guitar cab
  • Orange Crush 35w combo bass amp
  • Fender Princeton 112 65w combo guitar amp
  • Line 6 Spider combo guitar amp

Guitars

  • Jay Turser SG guitar
  • 70s Alvarez acoustic guitar

Microphones

  • 1 – Shure SM7b
  • 1 – Sennheiser MD 421 II
  • 1 – Sennheiser 609e
  • 2 – Cascade Fat Head II ribbon mics
  • 1 – Rode NT-1 condenser mic w/shock mount & wind screen
  • 2 – AKG S1000C condensor mics
  • 1 – Audix D6
  • 1 – Audix D4
  • 1 – Shure PG56
  • 1 – Audix i5
  • 8 – Shure SM57
  • 1 – Shure Unidyne III, vintage
  • 1 – DIY subkick, mounted

Miscellany

  • 1 pair 10″ Mackie Powered Studio Monitors
  • 1 – Line2Amp Reamp box
  • 3 – passive DI boxes
  • 2 pair Sony MDR-7506 studio headphones
  • 1 pair Sennheiser studio headphones
  • M-Audio Trigger Finger MIDI drum pad
  • M-Audio O2 MIDI Keyboard
  • 1 wind screen
  • a large suitcase full of mic cables
  • various mic stands in an assortment sizes
  • 2 large positionable sound baffles
  • acoustical foam mounted to three walls

Distort

Everything.
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