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Studios with one control/live room, ala Lanois....
Old 11th November 2009
  #1
Gear Nut
 
Matty Muir's Avatar
 
🎧 10 years
Studios with one control/live room, ala Lanois....

I'd like to hear some of your opinions on working in one room. I've worked this way in the past and really was amazed how different the process is. Anyone?
Old 12th November 2009
  #2
Gear Maniac
 
🎧 15 years
Quote:
Originally Posted by Matty Muir ➑️
I'd like to hear some of your opinions on working in one room. I've worked this way in the past and really was amazed how different the process is. Anyone?
I think it's a great idea for some people. It certainly is for most home recordists and situations where it's basically the band or artist recording their own material.
Old 13th November 2009 | Show parent
  #3
Lives for gear
 
PlugHead's Avatar
 
🎧 15 years
Since the move south and the studio now in my house (basement) I've been doing the 'one room' recording situation for a few years solid, and did it a few times elsewhere.

It has both strengths and weaknesses. Great for the feeling of transparency between the musicians and yourself: a connected way to record as an ensemble. Bleed is inescapable - sometimes good, often not so good. Works best if the room is large, and if you're able to dampen down the reflections is a plus. Unless you're doing a totally 'live' album (Ramones) with loud levels, it's not recommended - virtually impossible to punch in/out unless it's a group effort. If the room is large enough, and the playing is acoustic - that's when the single room studio shines. IME, when the volume is manageable, THAT is when working in a single room is unbeatable.

The toughest part is the lack of isolated/controlled monitoring while tracking - not a biggie, but requires you having a handle knowing what 'works' in every situation (mics/pre's/comps) and/or waiting till a couple of ref. recording takes to ascertain what is good or bad about your choices. Time and experience work best for this, not to mention musicians who aren't anxious to get keeper tracks IMMEDIATELY!!!!

All in all, I think it's a great way to work, tho bottom line is - it won't work for everybody and everything. Lots of space is best, and a great sounding room makes it a most enjoyable experience...

I hope this helps,
Old 13th November 2009
  #4
Gear Head
 
Muyukiguki's Avatar
 
1 Review written
🎧 10 years
More or less my studio is one room. I have an Iso booth for vox or guitars, but I usually don't use it when tracking. While I record drum tracks, I track everything else as a scratch first using DI boxes and heaphones, then listen to the mix through monitors after each take. After the drums are done, I am then able to do guitars, vox, and everything else in the Iso booth. It's been working out pretty well now for several years!
Old 20th November 2009 | Show parent
  #5
Lives for gear
 
andychamp's Avatar
 
1 Review written
🎧 15 years
Just trying to bump this thread, really.
I have a change of location coming up in the next 1-4 years, and am seriously considering going the all-in-one-room route.
Of course, there's the artistic intimacy aspect, that should help make better recordings.
But one big consideration would be to cut down on construction costs (for the extra CR) and have more to spend on room treatment and baffle/absorber/flats construction.
At least the control corner part of the room would benefit from more extensive treatment, while the live area would be controlled with mobile elements.
A bit of bleed shouldn't be an issue with good musicians.
I'd rather have a separate bathroom (=live chamberheh) than a control room.
I'd probably need an iso box/room for the computer and console PSU.
Has anyone got a similar setup, and what challenges did you face?
Old 21st November 2009 | Show parent
  #6
Lives for gear
 
deda's Avatar
 
🎧 15 years
I also believe this needs a bump we need to really delve into this, I want it bad.

The thread ends ala Lanois someone I dearly love, anything he touch's his own, stunning, then U2 Joshua Tree, Peter Gabriel So, he's the man.

A very fortunate answering of a PM from someone unknown about the Radar and after my answer he thanked me and gave me some background and low and behold he is friends with an engineer who has worked for Lanois many times. My new friend and I have something to discuss I believe.

I can't think of a better thread, it's a topic rarely talked about and I want to know how to do this.

Regards ,,deda,,


Quote:
Originally Posted by andychamp ➑️
Just trying to bump this thread, really.
I have a change of location coming up in the next 1-4 years, and am seriously considering going the all-in-one-room route.
Of course, there's the artistic intimacy aspect, that should help make better recordings.
But one big consideration would be to cut down on construction costs (for the extra CR) and have more to spend on room treatment and baffle/absorber/flats construction.
At least the control corner part of the room would benefit from more extensive treatment, while the live area would be controlled with mobile elements.
A bit of bleed shouldn't be an issue with good musicians.
I'd rather have a separate bathroom (=live chamberheh) than a control room.
I'd probably need an iso box/room for the computer and console PSU.
Has anyone got a similar setup, and what challenges did you face?
Old 22nd November 2009 | Show parent
  #7
Gear Nut
 
Matty Muir's Avatar
 
🎧 10 years
I really love working this way. The connection with the artist is undeniable. Everything is so immediate. Idea, BAM, result. It's really fun. Anytime I've done this, the people I'm working with always walk away with a different view of how the process is 'supposed to be'. Its fun.
Old 22nd November 2009 | Show parent
  #8
Lives for gear
 
andychamp's Avatar
 
1 Review written
🎧 15 years
Quote:
Originally Posted by Matty Muir ➑️
(...)Anytime I've done this, the people I'm working with always walk away with a different view of how the process is 'supposed to be'. Its fun.
I'm often amazed by the ABSOLUTE CERTAINTY with which less experienced musicians seem to KNOW beforehand that they prefer the safety of isolated, serial recording over the groove and liveness of whole-band recording.
And they often feel safer when the eng./producer is in his "lab".
Almost as if they felt naked and exposed by his presence in the same room when they're together.
It's not such a big issue when it's just 1 musician and the eng. doing overdubs in the CR, they actually feel kinda "privileged"
Old 22nd November 2009 | Show parent
  #9
Gear Nut
 
Matty Muir's Avatar
 
🎧 10 years
And I really like working the other way as well but the "All together" approach is just more exciting. If the client jumps on the for the ride with you, you can't beat the vibe. You are correct though, some people are really thrown for a loop when you show them whats gonna happen.

Also to add to this, this approach DOES NOT work if you don't know your gear. When the apprehensive artist hears some less than stellar playback, they want to go back to the cocoon of the separation. Ah well. to each his own. I just like havin fun.

MM
Old 22nd November 2009 | Show parent
  #10
Lives for gear
 
andychamp's Avatar
 
1 Review written
🎧 15 years
Post #8 in this thread kinda belongs here, too.
Old 27th November 2009 | Show parent
  #11
Lives for gear
 
OceanMan's Avatar
 
🎧 10 years

Catherine North Studios
Old 27th November 2009 | Show parent
  #12
Lives for gear
 
PlugHead's Avatar
 
🎧 15 years
My 'hood'! Completely killer space (old churches are usually a major plus for recording spaces!) close to a major city (housed in a medium sized city, where property values/taxes are WAY cheaper) and very close to NY state/Buffalo etc.

Totally nice place, but downside is the gear is not well maintained. Lots of headaches (according to many who have worked there)...

Quote:
Originally Posted by OceanMan ➑️

Catherine North Studios
Old 29th November 2009 | Show parent
  #13
Gear Nut
 
Matty Muir's Avatar
 
🎧 10 years
"and very close to NY state/Buffalo etc."


If you're into churches upstate, check this out:

About

This studio may be the SLUTTIEST OF ALL. I've been blessed to work there once and all I can say is that Henry IS THE MAN.
Old 30th November 2009 | Show parent
  #14
Lives for gear
 
deda's Avatar
 
🎧 15 years
Quote:
Originally Posted by OceanMan ➑️

Catherine North Studios
This blog link about Catherine North Studios does not add much info but it does state "Bob Lanois" did the design and that Glen Marshall was a engineer during the 1980's at Daniel Lanios Grant Ave. Studios.

recording @ catherine north

I am now totally hooked on the recording method.

Regards ,,deda,,
Old 30th November 2009 | Show parent
  #15
Motown legend
 
Bob Olhsson's Avatar
 
🎧 15 years
I'd take one room over a relatively small control room every time for recording a band. Session musicians really require a traditional setup in order to work fast enough.
Old 30th November 2009 | Show parent
  #16
Lives for gear
 
PlugHead's Avatar
 
🎧 15 years
Quote:
Originally Posted by deda ➑️
This blog link about Catherine North Studios does not add much info but it does state "Bob Lanois" did the design and that Glen Marshall was a engineer during the 1980's at Daniel Lanios Grant Ave. Studios.

recording @ catherine north

I am now totally hooked on the recording method.

Regards ,,deda,,
Glen Marshall is no longer affiliated with Catherine North: he is with fellow GS 'keire' at their new digs, 'Vibewrangler', another great space here in Hamilton. Not completely a single room studio (they have a very large iso room), but they do work in the 'one room' manner.

AFAIK, Dan Lanois has not been involved with Grant Ave in a very long time, tho Bob Lanois also has his hand at building that place (and their prev. studio on the mountain before the Grant Ave legacy) - Bob Doidge is the current head at Grant Ave, which is NOT a one room studio, tho a wonderful place...
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