Facilities

Mix Regional Sessions: Bay Area

25th Street Recording, Oakland, Calif.

25TH STREET RECORDING, OAKLAND, CALIF.

Oxbow was with producer/engineer Joe Chiccarelli finishing up mixing their newest record. All basic tracks were recorded at 25th Street as well…Joe Satriani used 25th Street to record guitars and finish editing on his upcoming release Shockwave Supernova. Satriani made extensive use of 25th Street’s live room for his guitar sounds. John Cuniberti produced and engineered the project…Mike Blankenship (keyboardist for Sheila E., Michael Franti, Lauren Hill) finished his upcoming album, with Scott Bergstrom engineering…Val Garay has been finishing a new release with Carmel Greenberg, with Garay producing and engineering and Brandon Stroup assisting…The Blondies are finishing their third release, which was recorded, mixed and mastered at 25th Street. Bergstrom produced and engineered the project.

STUDIO D RECORDING, SAUSALITO, CALIF.

Roy Rogers worked on Into the Wild Blue, with Joel Jaffe engineering and associate producing, and Jason Victorine assisting. Rogers also produced the project…Kim Nalley worked on Nasty Blues and the Racial Truth, with Jaffe engineering and Victorine assisting. Nalley and Jaffe also produced…Flamin’ Groovies worked on new material, with Jaffe engineering, Victorine assisting, and Cyril Jordan and Jaffe producing…Jameson Hodder (son of Steely Dan Drummer Jimmy Hodder) worked on Soundwaves, with Jaffe executive producing, mixing and mastering and Victorine assisting…Great Spirit worked on Searching for a Legend, with Jaffe producing and engineering, and Victorine engineering and assisting…The 110 worked on The Good Talk EP, with Jaffe producing and engineering, and Victorine assisting…Studio D also had Colin McDowell and Aaron Hipple from McDSP do impulse responses of the studio’s room for the McDSP’s Revolver Impulse Response Reverb.

SKYWALKER SOUND, SAN RAFAEL, CALIF.

The following projects took place at Skywalker Sound: Mixing for The Colorado Symphony’s recording of Beethoven’s Ninth, produced by Wolfgang Fraissinet and Leslie Ann Jones, mixed by Jones, and edited by Mark Willsher…Recording a videogame score for composer Mark Griskey, recorded by Jones…Recording the Mountain View High School Band and Choir, recorded by Dann Thompson…Mixing a piano recording by Karen Garrett, produced and mixed by Jones…Editing and mixing “For A Look Or A Touch” for the San Francisco Gay Men’s Chorus, produced and recorded by Jones, edited by Robert Gatley…A recording project by composer CF Kip Winger with the San Francisco Ballet Orchestra, recorded by Jones…A recording project by the West Point Glee Club, recorded by Brandie Lane, assisted by Thompson and Sean Martin…Recording a double harpsichord by Grammy-nominated Jory Vinikour, produced and engineered by David Bowles, assisted by Thompson…Mixing Video Games Live, Level 4, produced by Tommy Tallarico, mixed by Jones…Mixing BT’s new album Electronic Opus, produced by BT and Tommy Tallarico, mixed by Jones…Recording a new album with Joe Satriani, produced and engineered by John Cuniberti, assisted by Thompson and Judy Kirschner.

ROBOT ENVY, BERKELEY, CALIF.

Lyrics Born did vocal tracking for Real People, with engineers Sammy Fielding and Bijan Sharifi. Go-to vocal chain was Peluso P12 mic connected to a Vintech 273 pre going into an FMR RNC compressor…Bells Atlas did tracking and mastering for the track “Future Bones,” with Sharifi engineering. Used a Peluso P12 into a Vintech 273 on vocals, re-amped the synths through the twin reverb amp with a Cascade Fathead, and used groove tubes GT40 tube mics on the vibraphone…Madison Mandrake worked on their EP, with engineer Fielding tracking, mixing and mastering. All performers for this dark, acoustic folk act were in one room, but with amps in the iso booth. Acoustic guitar and mandolin through Fender Hot Rod amps, with a Cascade Fathead on guitar and Sennheiser E609 on the mandolin amp…El Gato Dice “DOS” worked on a new full-length, with Fielding tracking, mixing, and mastering. All the of bass tracks were re-amped through an Orange Terror Bass head into custom cabinet loaded with Eminence 15-inch and Cerwin Vega 10-inch drivers…Blood of Kvasir worked on Serpents, with Fielding tracking, mixing and mastering. For the percussion setup, they used two bass drums screwed together into one massive drum, miked with a Shure Beta 52 close, CAD M179 overhead, and an ever-evolving selection of room mics…Fielding mastered Night Profound’s Invocation of Light, Evocation of Night, using Izotope Ozone EQ, Waves SSL G-Bus compressor, and Massey L2007 limiter.

FANTASY STUDIOS, BERKELEY, CALIF.

Joan Baez recorded vocals for Atlanta band A Fragile Tomorrow in Studio A with engineer Jesse Nichols and producer Julie Wolf. They used VM1 Lite, LA-2A, and Vintech X73i…Mikal Cronin was in Studio D with engineer Nichols mixing MCIII. Cronin self-produced. They used natural echo chambers, real EMT plates, Echoplex and Space Echo Tape Delays, and Leslie cabinet for effects…Neil Young recorded vocals and acoustic guitar for upcoming Jakob Dylan project in Studio A with engineer Dave Way and producer Andy Slater. They used a U 47 for vocals, and a Royer 121, Neumann U 67, and Neve preamps on guitar…Young also was in Studio D editing his own upcoming project, with John Hanlon engineering and Hanlon and Young producing…Polyphia was in Studio A doing an audio and video shoot with engineer Alberto Hernandez. They used Neumann M 49s, Fet 47, U 87s, KM84, 452-10, B&K 4011s, Royers, 421s, SM57, AKG D112, M201s, Avalon U5, RCA44, C12, Grace preamps, API 3124, Neve preamps, Focusrites, Pultec, SPX 90, PCM42, API Large Rack, GMLs, and an 1176…The Dear Hunter recorded full orchestra overdubs over band tracks for upcoming albums in Studio A with engineer Nichols and producer Casey Crescenzo. They used Neumann U 47, Neumann M 49, KM 54, ELAM251, Brauner VM1, and B&K 4011 mics; and GMLs, Grace 801, and Neve preamps...Toro Y Moi worked on the ISDN connection to NPR’s World Café in Studio D with engineer Hernandez. They used U 47 on vocals, M 49 on drum overheads, FET 47 and AKG D112 on kick, beyerdynamic M201 and Royer 121 on guitars, Avalon U5 on bass, and Neve preamps, 1176 LN, Pultec EQP, GML compressor, ATI 550 EQ, LA-3A, real plate reverbs and natural echo chambers…W. Kamau Bell worked multiple sessions in various studios on voiceover narration for CNN show The United Shades of America, with engineers Adam Munoz and Nichols.

SKYLINE STUDIOS, OAKLAND, CALIF.

Public Enemy tracked vocals for Man Plans, God Laughs, with Bryan Matheson engineering…Public Enemy also worked on material for a new offshoot of the band, called PE 2.0. The project is entitled insPirEd. Matheson also engineered…Engineer/producer Jeff Saltzman worked on Blondie’s latest release, Ghosts of Download…Saltman is also producing various bands for the Oakland Indie Mayhem label…Skyline recently added a new room, 400-square-foot Control Room C, featuring a fully loaded API 1608 console, Pro Tools HDX, and outboard gear including BAE, SSL, Chandler, Empirical Labs, Purple, Shadow Hills, Barefoot monitors and an array of analog synths. The room will be used primarily for mixing…The studio also worked on post-production VO work for the TV shows Scorpions on CBS and Vice on HBO.

HYDE STREET STUDIOS, SAN FRANCISCO

Train recorded vocals, piano, strings, and guitar for Save Me San Francisco in Studio A. Martin Terefe produced the project, and Dyre Gormsen and Nathan Winter engineered. Train started the album at Terefe’s studio in London, recording most of the drums and bass. Pat Monahan used a Telefunken ELA M 251 for his vocals. He started singing in the live room, but had gotten used to being in the same room as Martin and ended up singing the entire record in the control room. Jerry Becker, a longtime friend, played piano for the record using the studio’s white Yamaha baby grand. The layered the strings to make it sound like a large orchestra. After every take, they would switch seats to make sure there was no phasing with their previous takes…Train also did background vocals and small overdubs in Studio A for California 37, with Butch Walker producing and Jake Sinclair and Winter engineering…Sun Kil Moon recorded Benji in Studio A, with Mark Kozelek producing and Winter engineering. Kozelek used an an AT 4060 into a UA 6176 preamp, and Steve Shelley from Sonic Youth played drums and percussion…The Rhapsody Radar Sessions took place in studios A and D, with Olivia Parriot producing and Winter engineering. Produced for streaming service Rhapsody, this is a series of live recording sessions with video, featuring artists such as Daughter, Kendra Morris, Samsaya, Tacocat and K. Flay. All instrumentation is run through Neve 1081 channels during tracking and mixing…Producer/engineer Eddie Kramer, assistant engineer Chandler Harrod, and second engineer Winter worked in Studio A mixing six Jimi Hendrix shows that had taken place at Winterland in October 1968. Everything was recorded to 1-inch/8-track tape by Wally Heider, who previously owned the studio facility where Hyde Street Studios is located. There were three tape machines running in the room at all times—tracks coming from the 1-inch Studer 820, mixing to 1/2 inch, with a real tape delay. The 8 tracks were split, three mics on the drums, one guitar, one bass, two vocals, and an audience mic…Bob Mould worked on Silver Age in Studio A, with engineers Beau Sorenson and Winter (Mould self-produced). A lot of the basics were tracked live, and Mould would stack his guitars in layers, often panning two takes left and right and another up the middle to give get a big guitar sound…Dead Horses worked on Space and Time, tracking in Studio A and mixing in Studio D with producer Stephen Barncard and engineer Jack Kertzman. AKG C12 and Sony C500 mics were utilized on guitars, and bleed was embraced by tracking both guitars in the main live room simultaneously. The 10-day lockout moved into Studio D for overdubs and preliminary mixing, where the studio’s echo chamber was used on some vocals…Vocals (mostly Philip Bailey’s) for a portion of Earth, Wind & Fire’s Now, Then, and Forever were recorded in Studio D with producer/engineer Kenny Moran and engineer Kertzman. Vocals were tracked with a Telefunken ELA M 251 tube condenser through a Neve 1272 preamp.

EL CERRITO STUDIO, EL CERRITO, CALIF.

Extraño Corazón worked on “Adiós Te Digo,” with Oscar Autie producing and engineering. Vocals and guitar were recorded in Havana, and keyboard and drums were recorded at El Cerrito Studio. Autie used Waves plug-ins SSL E Channel for general EQ, and Scheps 73 EQ for the drum set and background vocals. He also used Reel ADT to make the background vocals sound fuller and richer. To attain the crispy sound for the lead vocal, Autie used compressor hardware 1176 from UAD and the Manley Massive Passive EQ. For effects, Autie used the Lexicon 224 Digital rev from UAD, the Manny Marroquin Distortion from Waves, and the H-3000 delay from Eventide…Lucid Rays worked on More In Common, with Autie producing and engineering. He used the Apollo Quad interface to record with real-time plug-ins, using a minimal amount of compression and a combination of preamps to attain a warm sound. Autie used the four preamps from Apollo for the three toms and the hi-hat, and the preamp UA 4-710d for the kick, snare and room mics. The bass was recorded using the UA channel strip LA 610. For the guitar, Autie used the API 3124 mic preamps with a combination of Sennheiser MD421 and Shure SM57…Autie mixed Yalil Guerra’s Soy Una Mujer (Guerra recorded, produced, and mastered the project at RYCY Productions). Cristian Robles did the vocal mix…Autie mastered Ensamble Solistas de la Habana and Iván Valiente’s Yalil Guerra: Works for String Orchestra (produced and mixed by Guerra). The project was recorded live in Havana, Cuba.

 

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