Mix Regional News: Florida


Luke Beaulac and Iyaz


Evermore Sound’s new addition, Studio B, is set to open in February 2015. The recording space (with both its own control room and live room) was seen as a much-needed expansion to Evermore, just for the sheer demand for professional production in and around Orlando.

“There’s a lot of raw talent available due to the proximity of Full Sail University, and a crop of new engineers and outside producers can rent Studio B, fully track and mix their projects, have access to great gear and at the same time, have some guidance and mentorship at hand if needed,” says Elan Beaulac, assistant at Evermore Sound. “Luke [Beaulac, studio owner] has always been very involved in development, with both bands and engineers.”

The console in Studio B is a Midas F32 FireWire analog, which incorporates the converters and soundcard for a direct connection to Pro Tools. This means 32 channels in and out. “While the Midas console has great on-board pre’s and full parametric EQs, we will also be adding Vintech [Neve] mic pre’s and UA LA-2A compressors,” Beaulac says. “A variety of go-to mics from Beyer, Audio-Technica and Shure will also be on hand for tracking. Monitors are the JBL LSR Series.”

David Rochester of Technical Audio Services is handling the design of the studio.

The separate live room is 19x17, and the control room is 12x17. Both are acoustically treated with custom panels, and the near-field monitors will be professionally tuned for a perfectly flat frequency response.

In the meantime, some recent sessions at Evermore Sound include full CD production (tracking, mixing and mastering) for the following bands: metal band In The After, prog rockers Liquid Spiral, reggae band General Eyes, and rap-rock band Apollo Electric. Other sessions include full production and mastering for pop-rock band American Jesus’ forthcoming album, and laying down the groundwork for an upcoming album for singer-songwriter Iyaz. Legendary Southern rock band Molly Hatchet is scheduled to begin production on the band’s forthcoming album this year.

The studio has also made a “quirky” new acquisition: 12 Gauge Microphones, which are small-capsule condenser microphones made from 12 gauge shotgun shells.

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The Vibe Recording Studio A


The Vibe Recording, based in Fort Myers, Fla., has been awarded an annual license from the Florida Commission of Independent Education for its diploma-based audio engineering program, called The Vibe Recording Institute. The school focuses on a hybrid approach to modern recording, exposing students to the latest recording software as well as classic analog gear such as a vintage SSL 4000 console, an original blue stripe 1176 rev AB, and a pair of vintage 1969 U 87s.

The studio also recently acquired an SSL 4040G console, which has been commissioned in Studio A. Purchased through Primal Gear in Nashville, the console’s former owner is Ministry frontman Al Jourgensen.

Meanwhile, The Vibe Recording has seen the following projects come through its doors: Recording/mixing of the Grayson Rodgers album All Fired Up, produced by Julian Sundby, mixed by Chad Zuchegno, mastered by Jonathan Russel of Masterphonics, and recorded by engineers Zuchegno, Charlie Lukes, Zane Elliot and Frank Gillis; recording/mixing of the Bajo Zero album Antes, produced by Noe Avalos, mixed by Latin Grammy-winning engineer Anthony Perez, and recorded by Lukes, Zuchegno and Gillis; Loaf of Bread Records artists PBG, P-Line and Bezel working on an album (to be hosted by DJ Khaled), engineered by Zuchegno; Robert Stowell (2013 East Texas artist of the year) working on his album Firefall, recorded and mixed by Lukes; and Sunjewel Records artist Dani Dease working on an upcoming album, produced by Sundby and engineered by Zuchegno, Elliot and Gillis.

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Johnnie Barker & Co.


Bassist Johnnie Barker and his band recorded new material at 8 Beat Audio in Sarasota, Fla. Producer/engineer/studio owner Mauricio H. Blanca recorded the session and said that from the start, the goal was to capture as much “live vibe” as possible, so they ditched the multitrack approach.

“We had to track all five instrumentalists in the same room, at the same time,” Blanca says. “To minimize the amount of potential bleed, we used SM57s for guitar, snare and toms; a pair of KM 148s above the drum set in X-Y; an M audio Luna microphone with a Neumann capsule modification for the horns; and direct inputs for the bass amp and Moog.”

After setup, Blanca discussed with the band what would be the plan, and it was decided the song would be an open jam, and they would do four solid takes (due to timing constraints). (You can ). Blanca then mixed the track on the SSL X-desk, which Blanca says “sounds very open and transparent.” He added compression from the UAD collection, and had the Fairchild 670 as his bus.

“If you listen, you’ll notice a heavy jazz influence, and there are solos and a lot of improv,” Blanca says. “In conditions like these, where all the musicians are top-notch, there is not much post you want to do. Even a heavily compressed master process could probably ruin it. This is the main reason I uploaded a low-level mix with ample headroom.”