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Tracking/Editing/Mixing: 
I enjoy getting great sounds, nailing separate headphone mixes and tracking multiple players... live. Once rehearsed, this
becomes an inexpensive way to make a record. Not like this is a new idea, but one that might have become passé or just
left to the big studios and budgets. I have enough separation to record a band and punch-in parts, if need be.
 ***  At the end of your session, you'll have good sounding live-mixes.

Mastering
Final projects are delivered as DDP Files and Red Book Masters.   
I use Digital and Analog gear to make your mixes, louder, wider and more detailed. Most of all, I make them more consistent from system to system. To do this; I'd like to receive your original "Multi-Mono or Stereo Mix Files" at your original sample rate, please do not convert your files for me. I have a few ways to do this, depending on the needs of the project. Mastering from analog tape or just hitting it in the process can be pretty great. Let me know if that interest you, so we can discuss tape cost and setup time. New tape is available at ATR Services.

It’s my belief that the best sample-rate converter is a great D/A and A/D converter. Using two systems, there are no file-based conversions in my process. The 2nd recorder, captures a 44.1/16 Bit Stereo File for your cd Master.

If you are selling your cd on the web, it’s a good idea to encode ISRC Codes on your Master CD.
”Encoded ISRC provide the means to automatically identify recordings for royalty payments.”
ISRC Codes... You can get them here.


Remote Recordings:
I have a 32 Channel Portable Rig for remotes with  Bands or Orchestras.
There are rental rigs in town to cover track-counts beyond 32 Channels.


Comforts:
The studio is walking distance to great restaurants and bakeries
... and, I enjoy making really great coffees!  
Bonavita • AeroPress • Nespresso • The Coffee Roaster • The Conservatory

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Line Gear:  - Preamps: Chandler: Germaniums (2), John Hardy: M1 (4), Pueblo Audio: Jack Rabbits (12), Modified: BLA Auteurs (4),
LineAudio 8mp (18) - Compressors: Empirical Labs: EL8s (2), Bystrom 4 Channel Compressor (2), Dizengoff D864 (1)

Microphones:  - Tube: AKG: C12-VR (2),  Pearlman: TM2 (2), MJE: 1050 (2), Stellar: CM5 (2), Rode: K2_modified (3) - Ribbon: Coles: 4038 (2), 
AEA: R92 (2), GA: R1 (2), Fuksman: ML-52 Ribbon, ShinyBox: X-15 - CondenserJosephson: e22 (2), Sennheiser: MKH-80 (2),  
MJE: 910 (2), MJE: 384k (4), MJE: PE-219, Violet: Amethyst Vintage, LineAudio cm3s/om1s, Assorted 12Gauge Mics Dynamic: AKG: D-222, 
Heil: pr48, Audix: d2 and d4, Avantone: MONDO (4), Shure: Beta 52 & SM57s

Mixing/Mastering/Archiving Gear:  - Weiss: DS-1mk3, Dangerous: BAX EQ, Genex: GXAD (2), UA: 2192, Lynx: Hilo, BLA: White Sparrows (6), Ampex: ATR 104 (2), Dolby: 363 (2), Lynx: AES16 (3),  Euphonix Artist Mix, Tascam: 16/24 Bit Dat Machine, Woven: Audio Summer, Equi=tech: Balanced Power

Software and Plug-ins: 
PTHD 10-12, Wave Lab, Nuendo, Studio One 3, Mixbuss, Barbabatch, Amarra, Hofa, ddp-maker/player
... and tons of great plugs

Monitoring: 
- Speakers: ATC: 20-SL (L/C/R) , Quested: H-108, KRK 703C (modified), NEAR: 10Ms, Tannoy PBM-8s (modified).
- Amps: Modified Yamaha and Adcom amps, Myriad Systems Passive 5.1 Monitor Control

Instrument-Amp Rack:  - Amps: Fender Pro Jr. 15 watt "Class A" tube amp, M-Price 15-watt Brit-Clone, EDEN WT-300 Bass Amp
- Cabs: Pro Jr. 10” Speaker, RSA with a 12" Celestion, TRM Widebody, with a Scumback 12" and a Motion Sound: Leslie
- Pedals: Sansamp, Vodoo Labs Tremolo, Lovepedal Gen5

Headphone Amps: 
Adcom and Elan Power amps for 7  discrete stereo HP-Sends, with remote-client-volume-stations

Drum Kit: 
1980s Ludwig: 26" Kick, 14" x 6.5" Ludwig Black Beauty Snare, Mounted 13" and 15" and 18” floors and plenty of Zildjian Cymbals

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sounds

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I'm a bassist and playing bass brought me to Los Angeles from Baton Rouge in the 1980s. I also play the piccolo bass; a hi strung bass that sounds like a thick guitar. It can be played acoustically or through guitar amps. This instrument has become a unique sound in my productions. Since the early 90's I've recorded, mixed, mastered and/or produced many different artist. Over the years, my desire for good recordings has deepened, making odark30 what it is today. I’ve played bass with different artists including Tommy Tutone, Tori Amos, David Cassidy, Stryper, Wendy Maharry, Thompson Twins, Eric Carmen, Leroux and Cory Sipper. Commercial recordings include:  Coke, "ABC 7" Chicago, General Mills, Asics, Kawasaki, Outback Steakhouse, Saturn and Korean Airlines. I also have background in Analog Tape-Archiving and building "Super-Pro-Tools Rigs" for Film Orchestra Dates.

Analog Tape Archiving Gigs: 
The Police, Sting, Sly and Robbie, No Doubt, Prince, Andy Kaufman, Kate Bush, The Dandy Warhols, Barbra Streisand, Sheryl Crow, Dionne Warwick, Janet Jackson,Perfect Circle, Krishna Das, Mick Jagger, Aaliyah, Baby Face, Rufus Wainwright, Michael Jackson, Hans Zimmer, Samantha Mumba, Commodores, Christina Aguilera,DTS, Ashford and Simpson, Peter Murphy.

Pro Tools Support for Live Orchestra Dates: 
T3, Radio, Looney Tunes, Cat in the Hat, Identity, Anger Management, Big Fish, Big Bounce, Angles in America, Hidalgo, The Duplex, Moose Port, The Passion, Brother Bear, Haunted Mansion, Scary Movie 3, The Missing, Jersey Girl, Cheer Up, Radio, Troy, Collateral, The Forgotten, Team America, MI-3, NBC News Theme, Monster House, The Incredibles, Munich, Chicken Little, Memoirs Of A Geisha, Cars, Freedom Land, King Kong, Spiderman 3, The Interpreter, War of the Worlds, Eagle Eye, Syriana, Pursuit of Happiness, Click, Monster House, Ratatouille, American Gangster, Wall-E, Leatherheads, John Adams, The Soloist, Indiana Jones, Miracle at St. Anna, Benjamin Button, Star Trek, The Tale of Despereaux, Public Enemies, Toy Story 3, The Princess and the Frog, Tangled, Red Dawn, Troy, The A-Team, War Horse, Masterpiece Theater, Tin Tin, Lincoln, John Williams’ NBC Themes.