January 2018 Updates

All our analog multi-track machines are currently up and running! We are booking about two months in advance.

We are currently restoring an Ampex 440B 1/2″ 1/2 track machine!! The machine has a mysterious history, but may have been used to make commercials for a local furniture chain. In any event, someone tried to convert it to run 1/4″ tape but goofed the headstock/guide combo, we are customizing parts to get it running. Updates to come. Transport and pre-amps are in good working order.


Pixels Accessories is finally released on cassette and CD – pick it up through our friends at 75 or Less Records.

keeping it analog even when the good gear is in the shop

Back in December the Otari was having some hi-cups so it went into the shop, the Fostex was also waiting on parts. Sure, we had Pro-Tools and the ADAT but that’s no fun. Here’s an experiment by Quitters [Ethan, Shawn, and myself]. The question — how can we record all analog with only a four track 1/4″ and a cassette deck and keep it sounding pretty good?

We used a Tascam 22-4 @ 15 IPS and a Denon Cassette deck to keep the ones&zeros out of the mix here’s the process for THE WALL OF HISS SOUND!

Drums + Guitar recorded to 4 track reel to reel
–> bounce to cassette in stereo
–> bounce two tracks back to reel to reel + add bass + second guitar
–> bounce to cassette
–> bounce to reel to reel and add two tracks of vocals.

XR-TABS EP is done and awaiting release. Here they are photographed on the last day of mixing.


Hopper spent four days tracking 8 songs, three of which are being released as an EP very soon. Will post links once they are public.


Hopper, a brand new band (they came into the studio without a name), finished a three song EP and tracked five more songs towards a full length album – all done with 1/2″ 16 track [Fostex E-16].
Current control room layout (always changing).

IMG-0323We dubbed cassettes of some subModern associated projects. they will be featured Thursday, January 25th at I Want 2 Make Luv 2 U on a Bed of Lettuce, an art Salon in Providence that will feature dozens of Providence and regional artists’ work. Here’s a photo of me testing the dubs on my vintage “Channel Master” at home.







Week 12 Mixing, Expanding Patch Bay

Screen Shot 2017-12-12 at 3.14.27 PM

Mixing continues into week 2. Here’s a photo of me (right) with Dustin T. Rooney of XR-TABS (left) and Ethan DeAngelus (center), in the lounge on break during the ‘WET FIRE FOR EDISON THE UNCLEAN’ mix.

New parts came in for patch bay. Tape machine saga continues, and is still not back in service, but we’re all pulling for a speedy recovery.

Week 10/11


Continued overdub sessions with XR-TABS, and tracked two songs for FINE. Had rehearsals with QUITTERS & DIVEY.

I know what you’re going to say – isn’t that ProTools in that photo? Yes, it’s true. The tape machine happened to be in the shop right when I had some sessions with XR-TABS and FINE. so we went digital. It’s about the music man – don’t worry. Tape machine is coming back this week, it’ll be good to be home again.


FINE. reviews takes in the control room. #nosmoking

I moved the 388 to the live room for writing and recording demos. #studioB



Week 8/9

XR-TABS recorded last week. If you don’t know them yet, you should.

Technical details: Recorded to nine channels to Alesis HD-24, moved to ProTools via ethernet for overdubs. Had visitors & fun came to this session. Nick Dawson guest performed on vocoder for one song.

Control Room, Day 1. 
Live room, beginning Day 3.


Tracking live, including vocals. Day 2.


Last week (week 8) was too busy to update, but had a one day session with the Aquatic Symphony and mixed Bryan Reynolds, “Mr. Good Times Roll,” for his upcoming record.

Week 7

IMG_0099_editI came home to find these waiting for me – a Roswell Mini K47 condenser microphone and a replacement tweeter from The Speaker Exchange. Okay – sure, a tweeter isn’t exactly THAT exciting except that it came so fast. The people at The Speaker Exchange are awesome and sent a replacement quickly and with no issue or charge. That never happens! [See: Week 6]

The Roswell Mini K47 lives up to its reputation – it is the best microphone under 500 dollars (at least that I’ve ever used). I ran some side by side tests with my other condensers and the Roswell showed an undeniable presence in the mid range that is pleasing and natural.

I compared the Mini K47 with a Shure SM81 and an AudioTechnica 2020. Obviously all these microphones should, and do, sound totally different, but it is nice to know HOW they sound different – so I made a playlist of my friend noodling on a well known song. I recorded it with all three mics placed side by side [at about the neck of an acoustic guitar]. What do you think?

Fostex VF-16 extraction and “Home Bruise.”


The first muti-tracked recordings I ever made were with a Fostex VF-16. Between 2001 to 2004 it got a ton of use. I’m happy to say it’s still running strong. In 2004 my friend Neil Hodge recorded a track with me called, “Home Bruise,” but we were never able to finish it. A rough mix of it has been floating around the internet for years,  but the multi-track has been trapped on a 40 GB hard drive in the Fostex VF-16 …. UNTIL NOW. I used ADAT output to extract all 16 tracks into my Alesis HD24, took the tracks from there to my MAC (via ethernet), and finally to GoogleDrive and across the continent to Neil (aka. Mitis Lumen) in Los Angeles. Can’t believe how good that little machine was/is, and still trucking after almost two decades of use (my dad still uses it with his band, the Mystic Voyagers).

Finally, I found this cute lamp the other day, here it is on the organ!


Week 6 Update

I had to make a stop at MidState Camera on my way to the studio, which is about two miles away. I walked through neighborhoods between Warwick Ave and Elmwood Ave. I’m a Rhode Island native but some of these areas I’d never seen, others I’d not been to in years; I’d suddenly find myself walking past an old friends house, nostalgia, deja vu, etc. It was a kind of madeleine moment.

Last week I fried the tweeters in the main set of monitors (I realize now I shouldn’t have normalized those group sends the way I did…). I found replacements through Speaker Exchange and installed them, they sound as good, if not better, than the originals. [Update: one of the speakers arrived damaged, but was replaced without charge by the manufacturer]

This weeks theme was experimentation: tape delay/slapback and reverb chamber (still looking for that sweet spot).

Vocal tracking with two microphones (Slapback / Automatic Double Tracking):

1) SM81 via GAP Pre-73 to Otari with Ampex 499 tape.
2) SM57 via Crest channel strip to 22-4 (Tascam) running 15 IPS & some low-grade thin tape (.5 mil 2400′ ‘open reel’ brand) and returned to the Otari.

Used the pitch control to dial in the desired delay timing.

The idea to separate the slapback vocal and the dry vocal through two separate mics came from a recent interview in TapeOp (“They’d use a second microphone direct into the mic preamp of an Ampex 350 [tape deck] for the slapback, and they’d mix that in as a separate channel on their console, as opposed to [using] an aux send or something.”). I look forward to trying this with more exciting microphones and microphone placement.


After dubbing vocals and guitars I was ready to do some mixing. Ping-ponged a couple more generations of the PAYOLA$ cover I’ve been working on for BEDNAYS. Even after four generations of bounce, between the Otari (using Ampex 499 tape) and the Tascam (using ATR MDS-36), the noise floor is impressively low (no noise reduction employed!).


Visitors Saturday – did an impromptu recording with Scott Macreading (Sallad/Salad Cowboys, Aquatic Symphony, etc.) and José Diaz Rohena of Neighbors. Sarah Macreading stamped the art out for PIXELS cassettes, something I’d been putting off (thanks!).

Lawrence finalized the ACCESSORIES cassette artwork, too.

Lawrence nudging text & graphics pixel by pixel from cassette artwork.

Weekend Update (5)

I think I got my humble drum kit sounding the best it has in years. Started with the kit – moved it around the room – tuned it the best my non-drummer abilities would allow, set it up one piece and one mic at a time. This week I experimented with five mics on the kit (as opposed to my usual 3): mid/side overheads (‘Glyn Johns style’), snare (bottom head), kick, & a ‘fat’/ambient mic just over the kick towards snare – pushed the drum mix through an RNLA in mono parallel with the dry signal. Send the mix through ‘the vault’ reverb chamber. Result was something like the Gil Norton/Pixies drum sound.This was for the BENDAYS X-MAS album’s first track (it’s a cover by the PAYOLAS – do you know it??). However, I’ve realised my partner was right when she said I should have started this in July! Target date: Christmas 2018?


Has a visit from Justin Marra, an old friend with whom I gigged with extensively as a teenager. Justin is an educator who also just finished building a home studio in East Providence for voice work and has been actively writing and recording all the while.

Saturday evening was productive in the studio, worked on a demo which included borrowing some words from Emily Bronté. Earlier in the day we met with Mark MacDougall from 75 or Less at his ‘headquarters’ in Warren to discuss an upcoming collaboration [hopefully official news on that soon]. & PIXELS rehearsed Sunday evening – FINE. had a gig Friday and Sunday night – you should see them if you haven’t yet.



Mark MacDougall hooked me up with some classic 75 or Less releases!