Technical Support Specialist
2001-Present

With a reputation for their deep knowledge and generous customer support, many discerning industry professionals have come to rely on Studio Consultants on a daily basis.

Their customers include the major broadcast networks, music recording studios, CD/DVD mastering and sound-for-picture facilities, independent engineers and others.

From all discrete analog signal processing, to the 24-bit, 192kHz digital audio workstations, Studio Consultants specializes in a selection of the finest equipment available.

Providing Integration, Training & Technical Support for
Calrec Digital Broadcast Products

In the broad sense, a raga is a set of rules or constraints that binds the performance of a singer or a musician in such a way that it induces a certain emotion or mood in the minds of the listeners. Although the raga is governed by certain rules, not every set of notes that follows those rules becomes a raga. This is because the raga has to ‘induce an emotion’ and that is what makes this concept abstract and intriguing. The raga is not a scale or a tune or a mode. It is more like a framework that binds all these things together. Each raga has a name, and generally an associated time of day when it is best performed, depending on the mood it projects.
That is the experience of Swamp Raga.

I designed this control room in 2007,as a freelance project, for a musician's private studio in Florida. The primary desire was a room in the spirit of a vintage free field recording environment. The playing room is 19' x 38' with vaulted ceilings and an incredible view. The console is a Neve 8048, which came out of a studio in the UK, and was spectacularly refurbished by Fred Hill. The desk is integrated with a 32 I/O ProTools HD system for storage and editing. The Neve provides spectacular analog front end and monitoring facilities. The main montors are plenum mounted Genelec 1037C's with Adam nearfields. Construction management was handled by David Trucks, and the audio hardware integration was done by Bobby Tis. The first album recorded here, Already Free by The Derek Trucks Band, won the 2009 Grammy for Contemporary Blues Album of the Year.

Construction Photos

Metropolis DVD, from a feature article in
surroundprofessional magazine

Technical Director 1998-2000

Metropolis DVD, an extension of Sterling Sound, was one of the premier DVD authoring and production environments in New York City.

Being an early adopter of the Sonic Solutions DVD Workgroup™ environment, Sony™ Video Encoding technologies and Pioneer™ DVD Media technologies, they were among the first successful independent DVD pre-mastering studios in the United States.

Metropolis DVD - The original starup team
with Murat Aktar of Sterling Sound
Standing L-R: Justin Guip, Bob Tis, David Anthony, David Pattillo; Seated: James Moore

L to R: Ted Jensen, Jos» Rodriguez, Lee Hulko,
Bob Tis, George Marino & Tom Coyne
The Sterling Engineering Staff

Sterling Sound, NYC
Technical Director 1990-1999

Several views of our mastering suites combining analog disc cutting and digital CD mastering facilities at Sterling Sound, NYC circa 1997. A complete dual domain environment utilizing a networked Sonic Solutions™ digital audio workstation, Studer A-820 1/2" 2 track with Cello playback electronics and vintage 70-Series & 80-Series Neuman lathes.

I had the opportunity to participate in the transformation of Sterling Sound from the premier analog mastering facility to the premier digital CD mastering facility utilizing the Sonic Solutions digital audio workstations.

Chief Technical Engineer
1986-1989

Electric Lady Studios, situated in New York's Greenwich Village is one of the most historical music recording facilities in the United States. I had the opportunity to be involved in the upgrade of Studio C and a complete rebuild of Studio A in 1987. With George Augspurger as the acoustic consultant and Rupert Neve as console designer, we installed the first Focusrite Recording console in the US. At various points I had the pleasure of working with Dennis Alichwer, Ron Meersand, J. Mark Tindle, Jeff McBride, Jamie Chaleff, Brigid Daly, Ken Steiger and Craig 'Hutch' Hutchinson.

Bearsville Studio A Playing Room - A view looking at the control room with the loft above.

Chief Engineer
1984-1986

Two views of Bearsville Studio B. I designed, and installed the interfaces and managed this upgrade done in 1985, at the behest of Bob Clearmountain, that included an acoustical upgrade and the addition of 48-track facilities including 2 Studer A-800 24-track machines and an SSL 4000 console.

Bearsville Studios was built by Albert Grossman, a wise and kind man, who I consider to be one of my greatest mentors. He passed suddenly from our midst on Jan. 25^th, 1986.

Albert helped organize the first Newport Folk Festival, in 1959, and he managed the careers of many folk and rock luminaries of the 60s, including Peter, Paul and Mary, The Band, Janis Joplin and Bob Dylan. He was regarded by some as cryptic and opaque, but even his adversaries acknowleged that he was implacable in protecting his artists' integrity. Those who knew him well were those who understood his deeply intellectual sense of humor.

Boogie Hotel Studios
Port Jefferson, NY
Chief of Maintenance 1977-1984

Originally conceived as a private recording studio for the band Foghat and dubbed 'The Boogie Motel' (taken from one of their album titles), the studio grew to be a live-in commercial studio in 1980, under the name Boogie Hotel.

Located in a Victorian mansion originally built in 1751, with a large theater later added, the control room was originally equipped with a Neve 8058 console and a 3M Model 79 24-track machine. The playing room was 28 x 40 with 22 foot ceilings offering the optimum live and natural performance space. A vintage Neumann Stereo Plate Reverb and two live echo chambers were installed, and a wide selection of tube and classic recording mics and processing gear was assembled to complete the studio.

Upstairs, the five bedrooms provided a unique and creative living space, while on the main floor, a living room, cafÈ and full catering kitchen facilities completed the turnkey production environment.

In 1981, all the tape machines were upgraded to Studers and the control room got a refit with a new speaker plenum and UREI 813 monitors.

It was at Boogie Hotel, that my career transitioned from touring to studio maintenance. I have to give great thanks to the wisdom of Tony Outeda who saw my aptitude for the machines and allowed me to learn the skills that would contribute to my entire career.

- The NEVE 8058 -
This desk provided Foghat the foundation for state-of-the-art recording in a private studio, an unheard of concept in 1977.
This desk is one of the world renowned models designed by Rupert Neve. Amazingly, it still survives today. It spent many years in the offices of GRP Records and now is in a private recording studio.

"Lonesome" Dave Peverett
1943 - 2000

Rod Price
1947 - 2005

The Boogie Motel Album Cover
The studio was informally dubbed the Boogie Motel by the band and crew early on as it was the launch and landing point for the tours. Some crew members lived in the parapet for a number of years. The second floor was a collection of rooms for each band member's gear, and what a collection it became! As the studio became more popular and commercial, the rooms were converted back to living spaces and Boogie Hotel Studios was born..

This unassuming Victorian, with a wrap-around porch and large theater attached to the hidden Northeast corner. It was set on Main Street in Port Jefferson, NY. and was originally The Slavic Cultural Center. it became Foghat's home, and dubbed The Boogie Motel in 1979 and was upgraded to a commercial live-in recording studio called The Boogie Hotel in 1980.

The CafÈ and Dining area was a great gathering place between takes and at all hours. At the far end was the bar, a model of an old English Pub, and then there was a full catering kitchen and all the amenities beyond the swinging stained glass doors.

The playing room at Boogie was created from the entire audience area of the original theater space.

It's 28' x 48' playing area with multi-tiered balconies on both sides offered innumerable acoustic possibilities and the stage was converted into concrete and tile echo chambers which became a solid favorite with mix engineers.

The popularity of live performance recording brought many producers and engineers to the studio for the amazing flexibility, state of the art gear and the opportunity to capture a single take, complete performance with the unique character of that room.

Dave Peverett, Craig MacGregor, Rod Price, Roger Earl