Okay, okay!!

Well, it’s been about a month since my last post, so I guess that an “update” is in order, huh?

After extensive conversations with manufacturers and an certain acoustical designer, it’s clear to me that in order to achieve my goals, I need to raise some serious cash. In fact, the truth be told, my budget has almost quadrupled since inception, even with us doing the lions share of the work, construction wise.

We’re in the process of connecting two separate buildings together, to form a large rectangular complex, that will allow recording and administrative spaces to reside side by side.

That has been hampered by delays, primarily in the “planning and zoning” end of the world, as the inspectors don’t know quite what to think about the fact that we’re connecting 40′ shipping containers together with masonry and concrete.

The end result is going to be almost 3000 square feet of recording facility, with enough room to do everything but record “orchestral epic soundtracks.”

Right now, we’re excavating the area out between the two “buildings,” so that we can build the box that will interconnect them. It sounded easy on paper, but it’s proved a sizable challenge. I feel like a dentist trying to fill a cavity. Literally.

Once we get into the “serious” part of deconstruction and reconstruction, I’ll start posting photographs so that you can see the progress. I think you’ll find it real interesting.

Stay tuned!

Let’s Get Graphic!

Okay…

So I was just hangin’ out in the Recording Studio Design forums lately, looking for some good “intel” on some sweet gear, and out of the blue (well, actually out of Corsica, PA) some really nice 3D drawings dropped out of the sky, and fell right into my lap!

Not just any 3D, but 3D of the Man Cave!

Now, here’s what I’m doing… I’m trying to figure out how much space I actually have now, so that I can determine how best to use the space. In the beginning, things got screwed up quickly, because I was in the WRONG space.

But, a few talks with Wes Lachot, and some more conversations with pals (who are paid to know better but still answer the phone when I call!) got me back on the right track!

FYI:

When I draw stuff, it looks like this. I’m kinda hesitant to show you this now, because the work that follows makes it look like bad graffiti under a bridge!

The studio IS going to be up front, on the leading edge of the complex. It is going to be a ramblin’ man, travelin’ from front to wherever, by building a connecting annex between two warehouses, to make it one continuous space.

It IS going to make it possible to have not only a nice CR and live space, but some cool office space, and utility areas, as well. And, if I play my cards right, we’ll end up with a  lounge poolside. (Hey, it’s a lap pool, but it’s STILL wet…)

Welcome to the cavern that is… “The Man Cave!”

It’s 1,800 square feet of total “Rock ‘N’ Roll” heaven, that’s what it is!

I don’t know why I didn’t think of this sooner! Now we’re cookin!

Ain’t it SWEEEEEEEE-EET?

Makes me so proud that I could just swell up and be dead until the wee hours of the morning!

But, it’s time to pay credit where credit is due, so here’s the “real deal;”

Although the recording studio design is solely mine (so I can’t blame anyone but myself), the 3D work is based on the talent of  Dave Hawk at Hawk Pro Media! Dave is a “giver,” and he’ll help you any way that he can! To use his exact words;

“If I can be of any help to you down the road, don’t hesitate to give me a shout!  I’ve got a hell of a linecard of mics, monitors, & signal processing, etc.  - if you’re into new stuff.”

So, consider this a hearty endorsement from “the Morons at The Man Cave!”

Dave, we appreciate you! And, we’ll send some business your way, to say a hearty thanks!

Now, I gotta get back to work. The sound guy is lookin like he’s runnin low on his “crazy meds” again…

Rock it if ya got it!

Man Cave Audio – Progress Report!

Work progresses on the Man Cave!

Even though I’m on the road a lot lately, we’re heading in the right direction.

Several things have been defined;

First, this “open discussion”  about Man Cave Audio’s new studio that we’re having on the Internet seems to be finding a “niche.” We’ve gotten over 10,000 new readers in the last ten days. We’re measuring by tracking new IP addresses. Frankly, that just amazes me… That makes over 30,000 of you guys  and gals! I guess that there is something to this “Cyber stuff” after all!

On the “homefront” the work progresses steadily. While I’m out raising money for this damned money pit, the work seems to be falling into place  and it’s starting to take shape.  Hey, a pit IS a shape… right?

We’re definitely gonna use the front two warehouses, and build an annex between them, as a “connector.” There’s already a small 16′ x’ 16′ office there to build off of,  that mostly just serves as an access point for the “barracks” located in the basement. It’ll just house a desk and a babe…  I haven’t decided which one, but we’re accepting “applications!”

FYI: The “barracks” is just a small crash pad (tucked out of the way) designed for  use by people my wife won’t let in the house!!!

Using these warehouses allows Man Cave to have a live space that is almost 1000 square feet. It grants us space for a medium sized control room, housing a Duality 48ch slab, with several racks stuffed full of goodies. Several conversations with both Don and George at SSL (email and phone), and conversations with pals overseas…  (the Peter, Peter, and Pete show) have basically closed the deal for me, where the Duality is concerned.

It gives us a decent sized ISO booth, with the potential for a “flip-down” podcast desk built in.

It gives us a nice flow, a cool vibe, and decent airlocks. We’ll build an exterior airlock to allow equipment handling from “outside.”

Here’s an idea that we’re batting around;

We’ll cut the skylights out of the front warehouse, and use the wall extensions that already exist to help frame a “roof lift” that will allow us another 5-8 feet of air at least, allowing the drums to breathe.

(The exact height has yet to be determined. The math geeks will determine the number.)

The control room will be the same height as the live space, and we’ll build an office over it (accessed from the lobby), to allow business to take place as usual.

This layout is very similar to several places I already play, so it shouldn’t be that difficult to accomplish.

The biggest question is that of cash, or… the lack thereof. The budget has tripled since I started this, and it’s headed for quadrupled.

May should bring Wes Lachot on board as the  official “Man Cave Audio Project” designer of record, and this most assuredly means that all of my scratchings and “brilliant sketches” will probably go right into the trash (where they probably belong), but we’ll see what happens… I know that Man Cave Audio will blossom under Wes’s care, everything that guy touched turns to “GOLD.” If you don’t believe me, go look at his website. It’s just freakin incredible! I got mad love for the guy!

And I want to publicly thank a pal of mine down Mexico way… you might remember him from both “Baby’O Recorders“  (if you’ve been playing the LA Music scene for as long as some of us “old dawgs”) and his US and Latin based top-ten hits including his  #1 hit “Cuando Mueres por Alguien, and Billboard Award Winner “You’ve Got It Baby’O “…

Rafael Villafane!

“Bud, you’ve been a great help to me, and I appreciate your advice and the fact that you’re willing to share your wisdom! Thanks, Bro!”

And now you know…

A Lean Green Recording Machine!

Man, it’s nice  to be famous!

The exploits of the Man Cave crew are starting to get attention!

Not only have about 20,000 of you guys and gals taken a sneak peak in the last month, we’re getting contacted by people wanting to get in on the act. We actually have manufacturers who want us to use their stuff, so that they can be a part of the Man Cave Experience.

Man, just saying that makes me feel like Jimi… and I’m too old to start doing acid… especially that “blue stuff…”

I know that some of you have no idea what I’m talking about, but those of you old enough to remember Woodstock do… right?

Man Cave Audio is a recording studio suite, built into the earth. Duh! Everybody already knows that! But did you know that it will be totally self-contained? That’s right! It doesn’t matter if the grid falls off into chaos, or civilization breaks down, or even if Sharon Osbourne shows up screaming at the front gate…

Don’t ask…I just feel for Ozzie!

Nothing will stop The Man Cave from operating!

(Okay, almost nothing will stop us from working… except… maybe if we run out of frosty cold beverages and pizza…)

The Man Cave will get all of it’s power from the sun. Okay, I’m lying. It will get MOST of it’s power from the sun. The rest of it will come from french fries. Ever hear of “Bio-Fuel?”

No, it’s not a “Red Bull” copycat drink. In fact, I doubt you could stomach the stuff!

We make “bio-fuel” here on the farm, to power everything with a diesel motor.  Bio-fuel is made from used vegetable oil.  The only part of this process that really sucks, is that everything you drive smells like french fries. So, you’re constantly hungry!

And what do we drive? Well, you already know that we ride. There are more than a few Harley’s here, but they’re not part of our GREEN theme (unless you count “envy”).

“Blue-By-You”:  131 cubic inches of “fast-faster-oh crap” fun!

We drive regular vehicles, just like everyone else. Well, almost normal except that they are all diesels. This includes a rebuilt Cadillac Pickup truck (an “Insurance Total” we rescued, and then dropped a monster supercharged diesel into), a old HUMMER Wagon (from the 90′s… the BIG Hummer, not one of those sissy H2′s), a tractor or three (Green Acres is the place for me… as long as I ain’t gotta be married to that crazy Gabor!), (2) SUV’s (because you gotta go for groceries), and a Volkswagen coupe that breathes fire. (Just ask those “sissy tuners” that we blew off the road last month in Florida! ) We had a Prius that we “hotrodded,” but it died.  And every one of them runs on “Man Cave Juice!” It also powers our “auxiliary generators.” These “redundant” generators make additional power, when we need to push the sun’s bounty. After all, photovoltaic panels don’t work too well at night!

The air conditioning system is kinda novel too. It’s called “Geothermal HVAC.” We pump water  into the ground, use the earths coolness to chill it off, and then we pump it out into a tank that air lines pass thru. This in turn chills the air.  A fan then moves the air to the spaces we need it in. It’s an almost  totally passive system, if you consider that the pumps and fans required are electric, and they get power from… that’s right… the sun.

Why would we do this? Well…

A conventional HVAC systems rely on oil, natural gas, or electricity to regulate the environment, and that’s a really inefficient use of energy. Conventional HVAC systems can also adversely affect workplace productivity and affect the health of the people working there. Now, a recording studio is a funny place, where you need your eyes to work properly, and your vocal cords to be clear (unless you’re Joe Cocker, I suppose! Sorry Joe!)  Indoor air quality has become a major concern for management and slaves… um…er… workers.  We just felt real weird about locking employees into an airtight building that didn’t allow proper circulation. I can’t tell you how many studios I’ve been in that felt like stifling, toxic, and germ infested laboratories. (And that’s just while the “ponytails” were there!)

Geothermal HVAC does not rely on any combustible fuels to condition the environment. Geothermal energy harnesses the natural energy resources that lie below the earth. To accomplish this, you drive  several PVC pipe loops  beneath the property to circulate water into the system. At the right depth, the Earth’s natural temperature is a comfortable 70 degrees Fahrenheit. The designed system pumps water through the piping where it is either heated or cooled to 70 degrees, depending upon the season.

The water then moves through narrow heat exchanger coils inside the air circulation machines. Fans blow fresh air upwards through this heat-exchanger and into the buildings duct system. The result is a comfortable work environment for all the occupants, be they musicians or lackeys!

With a geothermal HVAC system, you can also realize significant long term returns on your initial investment into your facility. In a conventional build, you’d see this in your utility bills, but passive benefits such as a healthy workplace, and decreased absenteeism, are also seen by owners of these types of buildings.(Okay, so our guys still plead “Hangover!” but they can’t blame it on the air.)  In our case, we’ll stay cool, and we simply won’t use as much power. And since we produce the power ourselves, it means what we do produce, will go farther.

Remember that this works both ways. In the summer, it cools the air off. In the winter, it heats the air up! I’ve been monitoring the temperatures in the warehouses for almost a year, and they seldom move far from  68 degrees. So, whatever “bump” we require, will be minimal.

The heat for the facility is assisted by radiant in-floor heating, a system by which heated liquid is pumped into tubes buried in the floor slab, to slowly radiate heat up through the thermal mass slab.

Now, I’d like to take credit for this, but the original builder needed  “temperature stable” spaces, so he installed it himself. Solar panels heats the liquid, and Photovoltaic panels power the pumps. Once again, very few moving parts, and that means almost NO maintenance. All we did was beef up the panels and the pumps, to increase the “turnover” response.

It’s a technique where the heat is always in the comfort zone, and the only thing it requires is a heat source for  the liquid. And that heat source is the sun. The “radiant tank” is charged by panels that work just like a solar hot water heating system.

See the difference?

But that’s not all…

Every Recording Studio needs isolation. You know the kind I’m talking about, right? Not the “look, we’re trying to work here, so why don’t you just bugger off” kinda isolation, although it does come to that sometimes. I’m talking about “acoustical isolation.” The studio is covered by several feet of earth, and then sod. Once the sound lock doors close, you can’t hear anything going on outside. Zero interference.

“The Green Roof”

The studio is buried in a steel reinforced cocoon, covered in concrete and dirt. But a part of the studio actually sticks up thru the soil. It’s the “Lungs” of the live space, a height extension that we designed in, to allow more “breathing room” for the piano and drums. It’s just a concrete box that is built up about 8′ above ground. (The exact height is still a topic for debate.) And it’s covered by a large flat roof. Why flat? Because we wanted to cover that in soil too! From the air, I don’t want you to see the buildings, at all. And from the ground, careful landscaping will help to hide the “stuck-thru” points…

It will begin with the installation of concrete “beds” atop the live space, to form the “roof.”  Clerestory windows running around the underside of the perimeter of the roof will provide some sunlight into the live room. Each “bed” will be sealed with waterproof construction fabric and PVC piping is installed to provide drainage. These beds will then be filled with gravel and rich top soil.  Once that happens, we can do whatever we want. I’m tempted to plant a garden up there! But… I’ll probably cave to suggestions, and we’ll plant native vegetation in the soil to begin the roof natural growth of indigenous wetland grasses.

There are significant benefits to a Green Roof on any structure. The vegetation, soil, and gravel in the roof provide a natural form of insulation that will further reduce the demand on the HVAC system. This in turn lowers energy costs for the studio and it’ll benefit us  over the entire life of the building. The beauty and aesthetic value of the “building” will be enhanced by the abundant plant life. Plus, it’ll be cool, and we can take pride in the satisfaction that we are working in an environmentally sound structure, and ultimately that should lead to even more productivity!

So, we work below ground, fed by the sun, cooled by the earth, and stimulated by a powerful hankering for french fries! Oh Crap! We’ve become Hobbits!

Stay tuned!

Building a Recording Studio 102: What Every Idiot Should Know!

If you’ve just joined us…

We’ve been talking about what a good AD (Acoustical Designer) brings to your project.

I’m really surprised, but The Man Cave has become something of a “sensation.” In a little under a month, I’ve gotten over 20,000 “reads” from places all over the planet, people just like you and I who are really interested in debunking all the myths that surrounds that hallowed land… “The Recording Studio.”

I’ve heard from musicians, techs, engineers, producers, designers, and Pro Music Hardware manufacturers.

I’ve even heard from a few different Cable TV networks, that want to get in on the act, and bring film crews out. I suspect that in part, it’s due to the “concept” behind this farm-oriented studio build.  My build is pretty GREEN, as green goes. In fact, there are some who refer to it as the “Green Studio on Steroids.” But I can live with that… if I’m doing an old thing in a new way, I’m okay with it.

It’s about learning what works, without hemorrhaging money…

Here’s the deal;

We all want to record, but we all don’t have the means. Part of my adventure here at The Man Cave, is to travel down that path, and try to avoid those forks in the road that dead end into a confrontation with a “Big Bad Wolf” who wants to take all your dough!

So… this time, we’re gonna talk some more about what you need to make sure you do, to insure that the two of you not only get along, but achieve success!

• First, think about your studio needs and goals.
• Get an idea of the different spaces your project needs.
• Define the activities that will take place in these spaces.
• Nail down the dimensions that you need in these spaces.
• Figure out what you can live with, and without.

This was one of the hardest parts for me. It’s one thing to walk into somebody else’s million dollar room, it’s another to try and duplicate it, on a “french fry” budget.

Once you have the answers to all of these questions, then…

• Define your budget. And after you do that…
• Determine when you have to be operational.

I already had a building (3 in fact) but if you are looking for a new building, it’s a good idea to get your designer’s opinion before you make your move.

There are many things you may not think of that are necessary for a recording studio, such as adequate ceiling height to accommodate acoustical isolation, just to name one. If I’d had this talk with my designer before I started, I probably would have given up already.

9′ ceilings aren’t exactly coveted when building a “live space” that needs to breathe. And that’s exactly what I had, plus or minus a few inches.

• Figure out how you’re going to pay for everything.

It’s important to realize from day one that your budget will probably double, before you’re through.

Construction is not inexpensive, and you have to approach it like you were sneaking up on a sleeping bear.

Be respectful and don’t do anything rash, or you’re gonna get bit! I went in, thinking I had enough cash, but within weeks, it had doubled. By the time we get through, it will probably have tripled. And, I’ll be lucky if that’s as far as it goes.

• You have to have a good team!

Just like hit songs, the best studios are created when everybody works together, contributing 110% of their strengths. Your relationship with your designer is just like that. The client and the designer must work “together.” Every general knows that the key to good leadership is delegating responsibility, but don’t delegate decisions unless you really trust the person you’ve given authority to.

• Take an active role.

Recording Studios are like wombs. It’s a building designed to “give birth.” And, designing that building can be very satisfying and positive, but is also really hard work. If at any time you are uncomfortable with the design process, you owe it to yourself to communicate your concerns to the designer.

I talked to some of the most talented guys in the field. But, some of them were really, really egotistical guys.

(For me to say that is saying a lot, because I can be pretty difficult to deal with, myself.)

There were guys who almost immediately let me know that whatever they built would be a “monument to them.”

I don’t care if you’re the hottest thing to ever hit L.A. Talk to me like that, and all I’m gonna think is;

“Wrong Answer! Meet your new best friend, the dial tone!”

• Don’t EVER let the designer control the design of the studio to the point that it is no longer yours!

If you do, you’ll regret it. The key is finding that right “vibe,” that guy who knows just what notes to hit, to make sure that he’s in perfect harmony with you. Just like you, at his “thing,” he’s the artist. And, he’s a real creative guy, or you wouldn’t have hired him. So don’t restrict him so much that you are not getting the advantage of his full creative potential.

• I know… I’m a Jew… but get it in writing!!

Get to know the designer you’re hiring, and then… it’s important to have a written agreement. This agreement, or contract, should include the following things;

• The scope of work,
• The services to be rendered,
• The design and build schedules,
• The construction budget,
• THE ESCROW PROCESS,  and most importantly…
• The Designer’s compensation.

Let’s face it, having a contract is important, not just for the designer’s protection, but also for yours. In fact, in almost every state in the union, it is illegal for an architect or general contractor to work on a project without a contract.

If he says your handshake is good enough, call a cop. He’s a crook trying to steal your money.

So there you have it. Everything I know about this, so far…

As you can see, Lexx’s “bucket  ‘o’ knowledge” is pretty damned near empty, when it comes to stuff like this.

Stay tuned, as we try and figure out how to fill it with something besides the B.S. that some of those sales reps have been feeding us!

Recording Studio’s are a dime a dozen!

Unless YOU want one, and then…they cost a million dollars!

C’mon… you know it’s true!

Everybody and their brother has one, and they’re all “where it’s happening.” I was talking to a realtor in L.A. the other day, and she told me that in Southern California, right now, there are currently 434 listings for houses, condo’s, and “estates,” that have incorporated recording studios into them.

And L.A. joins Miami, Nashville, Atlanta, and (believe it or not) Seattle to top the “studio+home” listings markets…  The “Seattle” one threw me… I figure that either “grunge” is still huge in the Pacific Northwest, or those yuppies just have money to throw away trying to be rock stars!

But the sad things is that after a while, they all start to look the same. If you look close, you begin to see the flaws, pretty easily.

As a professional guitarist, I look thru the glass a lot, as a part of doing business. But, I never really “examined” how I must look from the other side of that glass.

Now that I’m building my own studio, I’ve learned that there’s a ton of stuff I don’t know about how a studio is born, and how it actually works. And I’m thinking that you might be in that same boat, too…

So, as I try to slip the surly bonds of earth, and go to that hallowed place were all music producers lie, cheat and steal… um… er… lend their expertise to your projects, I thought I might drag you along with me, so that you can get an earful too!

In the beginning, there was a big empty hole, where a recording studio should be.

Lexxeronomy Chapter 1;Verse 1.

I’ve been talking to guys who are” Titans of Tape,” and “Doctor’s of Digital.” And, I’ve made sure that I was listening to what they say. Why? Well, first, they’re expensive to talk to. Second, they’ve forgotten more about recording studios than most of us ever learn, and third, I think it made them laugh that a guy like me would decide to build a studio in a cave!

Here’s some of the highlights of those conversations;

You can’t allow yourself to get caught in the “follow the sheep” trap!

Recording Studios are a competitive beast, where you’re either a thorobred, or glue-waiting-to-happen.

You can’t be satisfied accepting the “same old way” of doing business, where designing your studio space is concerned.

Permitting yourself to think “out of the box” will allow new and exciting concepts to evolve, but only if we break the chains of those tired old traditions that have long since become irrelevant, and even obsolete.

State of the art facilities are all about contemporary thinking!

This thought process has to extend beyond your gear, to the very essence of your newly created space itself.

Resist the urge to do this!

Your new space has to be MEMORABLE!

Let’s face it. You’re spending a lot of time and money to insure that your space is unique.  If you’re just a carbon copy of everywhere else, you’re not going to leave a mark, let alone make a dent. You want to create original space, a space that ‘s creative, exotic, and awe inspiring. If you look hard, you’ll find some element or detail of your space that you can exploit, to present a unique starting point as you design your “dream” room…

Remember that nothing leaves a better taste, than quality.

From the scale of your project, to the smallest detail, you have to commit to excellence with every step of this journey. It’s okay to challenge yourself at every opportunity, looking for ways to make something great, even better.

Capture the spirit of your theme, and build on it!

In every studio, there is an undeniable quality, a “spirit” that gives your facility character. You need to identify that “essence” and make sure that your clients feel it, because that “vibe” will help lend life to projects. You want to promote comfort, inspiration, and creativity.

Performance is everything!

All that aside, your studio is only going to be as good as it actually “performs.” “A pig in a dress” is still just a pig. You have to strive for “accuracy,” because performance is far more than just “skin deep.” You have to pay attention, and stay focused on each construction step in turn, to make sure that you’re getting successful results.

I’ve learned the hard way that pinpoint imaging and flat system response are essential, if you want to achieve sonic neutrality. Low background noise and high sound isolation are critical, if you seek uncompromisable work. You really can’t accept anything less.

Your studio has to have “integrity.”

No, I’m not talking about your “rep” with the locals. That’ll come later. I’m talking about an appropriateness of scale, detail, systems, and budget working together to create an envelope of decisions that allow you to choose the right path, each time you come to a fork in the road. Trust me, building a studio means confronting enough “forks” to serve a banquet hall full of hungry people. Only by making sure that everything remains in harmony, will your studio build thrive. Your clear-headed goals and objectives will insure that your project succeeds.

Let me stress one point, again.

We live in trying times, and the economy is going to play havoc on all of our businesses everywhere. If you do one thing, and one thing only, make sure that you establish a firm “identity” for your studio. You want people to remember you as being unique, and that “uniqueness” will make you recognizable.

By exploring that “U-Factor,” your potential and your “greatness” will plant the seeds that insure your crops come in, year after year.

Building a Recording Studio 101: The perilous path to professional performance!

Why should I hire Wes Lachot?

…or ANY Acoustical Design Firm, for that matter?

Hey, so you’re a professional musician! Welcome to the ranks. Got yer “resume on a rope?” Well, guess what? It just means that no Dad wants you as a potential “in-law,” no Mom trusts you with “her baby,” and nobody besides the fans in the mosh pit are gonna take you seriously.

As “performing arts” goes, you’ve got a tough road to hoe. Less than 1% of us actually make it big. Half of those who make it, get lost in it, to drugs, alcohol, abuse, or “misuse.” We get adoration, while our “handlers” get rich by embezzling our money and living off our fame. And then, we’re usually “trainwrecks” waiting to happen.

Cops hate us. The public (fickle as they are) turns on us, and we still keep floggin away, trying to commit that next hit to plastic… or playing long past our prime.

And if we manage to live through all that, we usually still want more.

But after a while… that means that we just want to be left alone.

And then… it’s time to pull back past the fences, ramp up the security, and live behind the walls. It’s time to build our own recording studios. That way, you can stagger in and out whenever you want, and no ponytail can tell you how you should “be.”

But even though you’ve been inside hundreds of “chorus-filled console chapels,” understanding what makes a studio work is like trying to learn another language. Let’s face it, there’s a reason that people go to tech schools to figure out the way studios work.

Understanding a recording studio is h-a-r-d.

In fact, very few people actually understand the complexities of building a state-of-the-art studio, that is… until they find themselves confronted with hundreds of design decisions, navigating willy nilly through the building codes, zoning laws, contractors, sub-contractors, suppliers, craftsmen, glass guys, and dancing in minefields of accounting practices and pitfalls.

Enter the acoustical designer. He’s a swaggering professional who has the experience to help guide you through the maze of building a media facility, from the design process to the construction process. It says so, right on his business card! Know why he “swaggers?” Because in the land of  “recorded sound,” he’s GOD.

But building a recording studio isn’t just constructing the splayed walls, floating floors, and acoustic ceilings. Recording Studios are living, breathing environments.  You have to integrate the  acoustics, the aesthetics, the horrifying list of technical requirements, and all of the electrical and mechanical needs. And… you have to do all of this on a tight budget and a short schedule.

Sounds expensive, huh? Yeah, I took a big gulp of “OMG!” when I started down this path, too! But, a good acoustical designer can save you the price of his fees.

Let’s face it. With that axe you’re so proud of, you’re a demi-god when you’re on stage. But in the Control Room, you might as well be part of the slot resonator.  Technical Sound isn’t one of your elements. And for it to become one of your areas of expertise, you’re gonna have to put down that guitar… And we don’t want that now, do we? Hmmm?

It’s time to look for help. Fast. And go ahead and dump the contents of your wallet on the floor… That’s it…

BUT, the design services you’re  gonna get are a good investment!

Whaaaa?

Good Acoustical Designers pay for themselves, in part because a well-conceived and documented project can be built more efficiently, and THAT saves you money. It’s all about the CAD, baby! Designing and planning now, is much less expensive than doing it “on the fly” while construction is taking place. In addition, those comprehensive drawings make it much easier for your contractors to accurately bid, price out,  and then construct your project.

There’s other “perks,” too. That designer has a rolodex full of contacts, and those contacts are gonna give him deals on stuff you can’t get. Like deep discounts on acoustical insulation, for example.

It’s the designer’s job to work with your budget and building schedule. This helps you build exactly what you need within a realistic timeframe, and within your cost requirements.

And remember that a great design sells itself. A well-designed facility, along with the reputation of both designer and operators, entices new talent and keeps your current clients coming back. Plus, a well-designed studio creates a work environment which keeps your employees happy, and that increases their productivity.

So… In summary; The point of hiring a competent Acoustical Designer is to make your life easier!

Designing and building a studio is a long process (longer than you’d think, when you start out!), and the construction can be chaotic, messy and completely disruptive. That designer you brought in speaks the right language, and understands those blueprints. After all, HE drew them. Just let a contractor try to slip something past him, and see what happens!  That designer is  your “hired gun,” and he looks out for your interests. It’s his job to insure that the process goes as smoothly as possible.

The designer can also help you find qualified construction contractors and he’ll make regular site visits to verify that the project is being built according to the drawings and specifications. In this phase, think of him as your general contractor.

Over the next few weeks, we’ll talk about how I actually chose to bring in  Wes Lachot as my acoustical designer, and what he brings to “The Man Cave.”

With over twenty years experience as a recording engineer/producer, Wes brings a loaded arsenal to his projects, using a wide range of practical knowledge and insight, tempered by a pool deep in industry knowledge. His control rooms are known for their musically accurate acoustics, and are used for critical mixing by well-known producers and mixers. Recently, he was  selected to rework the acoustics for Control Rooms B and C at the legendary Electric Lady Studios in Greenwich Village. Other high-profile projects include Saddle Creek Records’ new ARC Studios in Omaha, Nebraska, and Mitch Easter’s Fidelitorium, in Kernersville, N.C. Wes is heavily sought after, and a self-proclaimed workaholic. So, when he finally gets through with his current workload, it’s the Man Cave. baby!

Stay tuned.

Scratching at the Earth

Okay, most of you know that I’m living underground…

After years of living “with people,” now, my family is now living all by our “onesies.” I’m sure that will please some of you, as I can’t recall how many times somebody said;

“Lexx, I wish you’d just crawl into a hole, and pull it in after you!”

That means I have to be sustainable, reliable, and responsible. We make our own power, grow our own food, distill our own fuel, and just generally thumb our noses at the rest of the world. Hey, if might not work for you, but it works for us!

It’s all about having a “buffer.”

So I’m pulling the dirt in after me. I’ve decided to use some earth-bermed warehouses on my property, to build my own recording studio. Although every musician wants his own digs, my quest is simple…

I want to stay at home with my family as much as is humanly possible. But I also want to play/record any time I want, without having to leave the grounds. Lofty goals, huh?

Now, I admit I have some circumstances that some don’t have. I have a new son, and I want to watch him grow up. Having missed most of my children’s young lives because of a life lived on the road, I’m determined not to repeat the same mistakes.

And, there is enough stress in my life to make this project something to throw myself headlong into, if only to escape the drama…

So, I took a deep breath, and started figuring out my resources by defining the assets and liabilities. Can you tell I’m Jewish?

Having the “space” for your project doesn’t really make it any easier.  No matter what “building” you already have, you’re going to have to build another building inside of it.

I live on a farm.

Nope. Not your “Star Wars” kinda high-tech farm filled with Yuppies, Nerds, and a gaggle of Geeks. I wish!

Nope. Wrong again. Although I’ve been accused of expelling enough hot air to power a small village… that ain’t it, either.

Okay, so it’s not your “surrounded by acres of corn fields” kinda farm, but…

We don’t have acres of rolling fields bursting with wheat, or anything like that. We have trees… a ton of trees. And, oh yeah… a gate. (Not a “new-fangled” electric gate, nuh-uh! Onna those “get outta the truck in the pouring rain, while your wife tries to run you over” kinda gates!)

We even have a sign… The sign says: “Turn Here.” If you blink, you’ll miss it. We like it that way.

Once you make your way thru the trees… (you do remember the trees, right?) my farm has several low-lying buildings already built up, and then… they’re covered in soil. Tons and tons of soil. The only part that sticks out is the truck doors in the front, allowing entrance to the cavernous spaces within!  The guy who built them was an environmental sort, who was trying to create “his perfect place.”  Unfortunately, he died trying to do it.

Unless you look real hard, you don’t “see” any of the buildings on this farm. And the builder’s family didn’t share his vision…  in fact, they thought he was insane. So after trying to sell it for three years after he died…  (because everyone who looked at it thought “the builder” was insane…) I got the farm, for a song… Why? Because I’M insane! Just ask any of my “neighbors!”

It’s probably an environmentalist’s dream. Earth sheltered buildings, solar panels, several wells all run by (you guessed it) electric pumps powered by photovoltaic panels, and trees, a ton of trees. Did I mention the trees?

We’re just about totally off the grid. I say just about, because we do use generators during peak times, to supplement our power. (We do have a little “house” up by the road that has “city power.” It was easier than answering endless phone calls and visits from the sheriff to see if the farm was vacant.) But, these generators are run on bio-fuel, that we produce right here on the property. So, the guts of the build are already here…

This could be the “Green Build from Heaven only knows…” or another word that starts with “H.”  Time will tell.

But, what building do you build? There’s the rub…

You can do what some do, and hit the forums, as hard as you can. And, I suspect that you’ll learn a lot, real fast. But, if you’re like me, you’ll only learn enough to become really dangerous.

Now, I kinda have a reputation. So… dangerous hanging off a guitar neck, dangerous in a fight, dangerous on a twisty road in a hot car, or even dangerous on a fast bike, you probably want ole’ Lexx. But dangerous in a “building project that you’re gonna record in” kinda way??

Well, that may be flapping a bit too hard from the handlebars. In fact, I suspect “way too hard!”

So, after “sticking it out there” in the forums, I decided to just bite the bullet, and start dialogs with designers and acoustical engineers. I talked to several of them. In fact, I probably talked to all of the “big names,” except maybe one or two. My phone bills span from California to New York, and just about everywhere in between. And, I talked with several architectural firms that specialize in building state of the art studios.

I tried to convey to them… my vision. Most of them thought I was far-sighted, and suggested counseling… You know… the psychiatric kind. Almost every one of them suggest that I start, by tearing down the existing warehouses, and building from the ground up.

Not only would that have violated the spirit of the farm, it would have murdered my budget, or lack thereof. I have some stuff,  some cash, and some stuff I can turn into cash… All I need is a GREAT plan.

But most of my pals kept telling me that I didn’t need a designer. I didn’t need to bring in another ego to eat up most of my budget with consulting fees, design fees, revisions to design fees, and then… build fees.

They told me that we could just “go on guts” and build something ourselves. After all, we’ve been in literally hundreds of studios, over the last three decades.

Hmmm… “Building by our onesies…” Well, I do love architecture. I wanted to be an architect as a kid, until I figured out that I’d spend the rest of my life sitting in a cubicle, in front of a calculator. One of my real interests is in building environments that live WITH other environments, instead of just stomping all over the top of them. I love guys like Frank Lloyd Wright, and Malcolm Wells, and even Frank Gehry.

Note: I’m not trying to build “Taliesin” a fellowship devoted to organic architecture, but I have been accused of participating in “a fellowship of fools…”

Speaking of “fools…”You know what I remember most from school? The lesson where “a fool and his money are soon parted.” And, I’m that fool. If I am not 110% sure of what I’m building, especially something as technical as a recording studio, then my money would be destined to fly out that sound lock door, and disappear into the mist…

But building a recording studio requires a LOT of math. In fact, the calculations look like something you’d see on a NASA blackboard, plotting out trips to the lunar surfaces of the Moon. Not me. Nuh-uh! Music and math go hand in hand, and anyone who tells you otherwise, is an idiot. But math and I don’t get along well enough to accomplish everything that has to happen “right on the decimal point” to make a studio sing…

So, it’s time to enlist a designer. But who to hire? I mean, they all sound good, they know the right buzz words, they start talking abut things that sound official (that go completely over your head), and then… you have to sort them all out.

Wanna know how I did it? I started this out by sending out a crazy and heavily detailed email. An email filled with Harleys, angst, desire, and even challenge. And then, I fielded the phone calls.

Man, I had some crazy conversations. Conversations filled with stuff like “what you’re trying to do is impossible,” and “you’d better have deep pockets,” and “I wouldn’t feel comfortable taking on a project like this.”

And those were just the conversations with my wife! LOL!

After all, all I wanted was a gem of a recording studio, loaded with racks and racks of vintage and high-end gear housed inside an acoustically-impeccable “Starship Bridge.”

Seriously, most of the guys I talked to wanted to double or triple my budget, knock down the warehouses, and then… build some eyesore that would stick out like a monument.

“It’s a farm, you idiot!! If I wanted LA in my front yard, I’d live on Sepulveda Blvd.! Hello? I don’t want to look out into the yard, and see an industrial park with siding on it. No thanks!”

So, what I needed… was a great plan. I needed somebody who could identify with me as a musician. I needed someone who understood my desire to keep the studio simpatico with the land.  I needed a guy who understands music as well as architecture. I needed a really geeky musician who wasn’t afraid of “chain calculations.”  I needed a guy who understood producing. I needed a guy like…

WES LACHOT

After all, who’s better at committing and executing great plans, than Wes Lachot? Hmmm?

Nobody I know.

So,  we’ll talk about what Wes Lachot brings to the party.

Stay tuned!

Here’s some “Man Cave warm and fuzzies” for ya!

Lately, I’ve been talking to Designers and Acoustical Engineers…

Big shots. You know the type… Guys with enough alphabet soup after their names to feed the world’s hungry… And it started me thinking about how much I seem to be repeating myself. I mean, here I am, trying to figure out how to spend my money, and they’re giving me a test, like I was some round-eyed schoolkid!

Hey! Ask anybody! I am “all about GREEN.” I only have so much of it, and it never seems like it’s enough. Oh wait… I was gonna talk about the “other” kind of “green.” You know, re-using, recycling, conserving energy. Especially mine! So, I thought I’d just do a page that outlined my thoughts about how Man Cave Audio is supposed to be “birthed” into this world, and see where it goes from there.

So, here’s the three dollar tour…

When I close my eyes and picture “the Man Cave” I see;

… a relaxed environment, where you can have a good time. The “intimidation factor” has to be ZERO. Recording is hard enough, without all the drama.

I can’t tell you how many studios I’ve finally walked out of, because the people running the place couldn’t get their act together.

“You don’t just play music, you feel it, and it feels you back.”

And if some “Genghis Khan” producer or “Napoleonic” marketing lackey messes with the vibe, you’re already over, before you get started.

I absolutely love it when some pencil-necked suit tries to tell me how to play, because he can relate… after all…  he played the trumpet in his High School Marching Band…

I’ll tell you, what I tell them… “I’m not worried about no “call-backs.” You can just walk away, or I’ll punch you in the mouth. Your choice.”

I’m looking for a warm, live sound.  Granted, that has a lot to do with the producer and engineer, but… I want everyone playing together in the same room. You know… a “live feel” kinda vibe. I want musicians to act the way they do on stage, and feel at home in the studio.

I’m an “old road dog.” I’ve been out there a long time, over 30 years! And, unless it’s something really, really, intricate, I’m just sick and tired of getting stuffed into a little room. I mean, if I have to call Lee [Ritenour] to figure out how to play it… okay, box me up! But…

I played with the idea of “Drum Rooms,” and “Piano Rooms” and even rooms with monster HVAC “to stuff the smelly guys…” You know the ones… It was driving me crazy, because deep down inside, I believe that bands should play together like bands. The “grooves” happen better and the musicians feed off the energy. If everyone can see each other, they stay connected. In my experience, it makes for better recording.

I don’t care what anybody says… You can’t engineer a great performance!  That has to come from the musicians themselves. If they can’t do it, you can’t “fix” it.

Now, I had a SSL AWS 900+ 24 channel console, up until about three hours ago. I got the call that I was waiting for, and the guy I originally got it from, decided to buy it back.

This is not MY actual board. Mine is still in the crate they shipped it to me in! Good thing too! One less chore!

I always had my doubts about whether it would fill my needs, but I got it in a “take this, or you get nothing!” lawyer orchestrated deal filled with intrigue, lackeys, and thugs. Some guys will do anything to get paid, and evidently, I’m one of them.

But, it’s leaving. Bye bye… Don’t drop it! No refunds!

And a pal of mine, a really well known designer in his own right (I’ll be talking more about him later on…), is helping me track down a SSL sl9000J to fill the console furniture with. Now, I know that there is going to be a price difference, but it’s okay, Ill figure something out. I always do!

Again, it’s a “sister ship.” I have photos on the way to me…

I found a 72 channel board in LA that looks pretty clean, but I’m still holding my cards close to the chest. It’s easily in my price range, too! After I’ve run it past “the Boss,” I’ll either make the move, or pass…

I have a pair of Studer A800′s that I really want to use.

I know that the sun rises and sets with digital gear. but man… I just love the tape compression and harmonic distortion that you can only get from 2″ tape. Studer doesn’t support these anymore, or any tape recorder, for that matter. So, the first thing I did was contact Audiohouse, and order enough spare parts to rebuild them a few times. Lemme tell you, those EPROMs that they used can be a real pain in the butt!

Even though we’ll be using Pro Tools, tape is still my main medium of choice, and I’m definitely not one to want to create the magic thru “prestidigitation.”  I want to capture it straight from the musicians.” Sez Me.

I have a pair of Studer A80 1/2″ decks. Yep. Keeping them.

I even have a pair of Akai DSP24′s (24 channel Digital Recorders) that have been hot-rodded… They’ll probably go bye-bye, too.

(And, if anybody has a need for a pair of Mackey HDR2496 24 channel Hard Disk Recorders, let me know. I have a pair that needs a good home. They’d probably be great in a mobile…)

I’d like to add a Studer 827 (I’ve always liked this deck and I’d love to have one to play with), and possibly even an Ampex ATR 102. A buddy of mine bought one at auction last year, for about $2,500 (if I remember correctly… and it had just come straight from the ATR Services shop). It’s in great shape, and he’s not using it. We’ll see what happens.

So… for a board, I’ll most likely have a SSL 9000J 48-72 channel Console. We’ll see what I end up with.

For Control Room Monitors, I currently own Klein + Hummel o400′s (a pair) Active’s, and for the sub… a Klein + Hummel o800. I have immediate access to these (from guys that want to trade out), and I’m shopping for opinions;

Yamaha NS-10
Genelec 1031A
KRK V4
ProAc 100

I’d like a layout that has a couple of  Isolation Booths if possible. We do some “voice-over,” some contract podcasting, and some other projects that would allow them to be used, on a regular basis. When first we started down the path…

We thought that a few ISO booths would be impossible, due to space constraints. But now that we’re going in “another direction” we have all the space we need.

Remember that originally, I wanted to build the beast in the warehouse next to my house. It’s so close, it almost touches. Well.. It actually does touch, corner to corner. But, after many, many hair-pullin’, teeth-gnashing sessions, we’ve decided that we’re going to move the studio to the two warehouses further up the property line.

They sit 16 feet apart from each other. So, by building an annex to connect them together, I get enough square footage to make a huge mess!

We own both a Boston GP195 Grand Piano (my personal favorite, because not only does it sound terrific… I flamed it with an airbrush!) and a Yamaha C7 Grand Piano. One will stay, and one will go… Guess which one will leave… Go on… guess!

And so, that’s where we are. I’m still working the forums for “intel,” burnin’ up my cell phone batteries and my long distance, emailing every ponytail I ever knew… and driving one designer in particular, crazy.

And just who is this masked man?

I’ll tell you, next time…

The Plot Thickens… and it’s getting “Tasty!”

I’ve thought about doing this for a while now.

Every musician worth his/her licks, lusts after having their own recording studio.

Admit it! You have dreams about this!

If you don’t… well, you just aren’t good enough yet. To those guys I say only this;

“Practice, practice, practice!”

But, like everybody else, I had to justify the expense. Selling a Custom Harley just put me over the top, and with the economy going straight to “you-know-where…” I figure it’s “now or never.”

Translation; I’m sick and tired of paying everybody else in G_d’s creation, for “time and space…” and then having to leave my house, to get there. I have “circumstances that demand that I’m at home as much as possible.” And, I missed a lot of my kids “growing up time” (due to being out on the road) and it’s not gonna happen again.

I have some gear, but it’s “vintage.” I’ve got a pair of Klein+Hummel O400 Monitors, and a K+h Sub 0800. I’ve got a SSL AWS 900+ that’s been sitting in a crate for a few years now. Don’t ask. I won’t tell… Upgrading it to SE won’t be that hard.

I have a guy (the previous owner) who wants to buy it back. And, I’ll make a profit, but I’d need to buy another console. The only one I’d consider right now, is an SSL SL 4000 G+ (with Ultimation, of course) but it would cost more money than I make on the sale of the 900+. On the up side,  I’d go from 24 channels to 56. On the down side… I’d be getting a much older board. A board that is no longer even supported… Uh-oh…

In a prefect world, I’d find a really clean 48-72 channel 8000 or 9000 series SSL, and build a “Starship Console,” right outta Star Wars! I love SSL stuff, but these babies would probably be out of my price range, I fear! I’d better think about this some more…

I’ve already got a pair of Studer A-800 2″ decks, a pair of A80 1/2″ 2 tracks. I know… you guys are already hollering into your monitors that “it’s the 21st century, and it’s all digital!” I happen to like the noise and harmonic distortion that tape adds. I’m a dinosaur. Deal with it!

I do have a pair of Akai DPS24′s. All of this stuff is, both “talent” and “stuff.” I’ve got a 19′ rack of effects, reverbs, compressors, “gates and goodies,” but remember, all of this stuff is “vintage” and some of it will probably have to be replaced.

I’ve got enough computers and tools to fill a small bunker, so that’s no problem either. A server room I can do, and I have a ton of 1 terrabyte Seagate HD’s.

I plan on doing some of the construction work myself. I’m really handy in the workshop, so “inner leaves,”   custom enclosures and “boxes” will be pretty straight-forward. I have several friends in the business, who understand both what we’re building,and how it works. That crew of volunteers will make this possible.

About the studio;

Not only would it enhance my ability to work at “home,” I could open it up to the locals, and take in a intern or two, to help the “educational learning curve.” The hardest part about getting behind that big desk… is getting behind a big desk, in a REAL environment. I know that the schools have cool stuff, but the feeling that “you have to make money or die” just isn’t there. It’s just not the same. I’ve been contacted by Tulane University, about helping start a new program.

I already have (2) “bunkhouses,” so I can put up several people at a time, to work and record. But, those people better be “olfactory challenged,” because frankly, musicians can be a rather smelly lot…

I’m thinking that once it’s started going up, I’ll bring in an intern or two for the summer, who “lives in…” every year. Maybe even a resident musician or three…

I suppose it makes sense to begin this studio build, by trying to define the spaces needed, both by use, and approximate size.

A Podcasting booth is just a room with a mic and a desk with a tele-prompter, so that’s a no brainer – we’re talking about a cubicle sized room, that looks into the control room. It’d also double as a “commercial vocals” (as in radio and TV commercials) “voice-over” booth. (We do Advertising, Independent, and Industrial film stuff, too.)

Again, it’d be used enough to dedicate a space to it.

The ISO booth for vocals or a guitar amp or two… But how big is enough, when you’re doing it at home? I figure 2 guitarists, or three or four guys (or gals) in there at once, maximum.

But I seem to be debating whether or not I really need a room for professional drum kits, and one for a grand piano. Anybody got anything profound to say? And, if I need one or the other, what kind of space will suffice? I’m lost, because I’m used to being in “spaces” where “space” was never an issue, because build budgets looked like the GNP of a small third world country!

Any suggestions?

The piano gets used daily. The drum kit, almost as often. So, I’d like to make them  “warm and cozy!”

Unless I just put the drums and the piano in the main room (I am tempted to do just that!) I figure once I carve out these places, I’ll know what I have left over, for the “live room…” That seems like such an odd way to start this, doesn’t it? I mean, usually, you determine the size of your “live space,” and then hack up what’s left… Leave it to me to do things backwards!

When I started this quest, I thought I’d just convert a warehouse I have, that sisters up to the house. I’ve described it already, but it’s basically a 32′ x 40′ space, with a 9′ ceiling.  It’s covered with earth on three sides, and it looks like a hobbit hole, from the outside.

When I started drawing it out, it looked like this;

But, I hated the loading bay. I hate double doors. Too hard to seal, and that’s the kiss of death. Plus, It didn’t feel “right.” And, I started realizing that drums and the piano need to be in the live space.

So, I redrew it, and it looked like this;

Better, but I need to ditch the drum room, and do something about all the code violations. Plus, moving that bathroom to the airlock was going to cost $10,000 because no plumbing existed to support it. Perhaps the shop and the booth needed to switch places, too!

So, back to the drawing board;

A “Corner CR…” Hmmm… But. some obvious problems. I need to combine the two spaces, to make one big space. I need to turn the shop into a booth, and reduce the size of the server/equipment room, and the guitar vault, to allow a shop to be squeezed in.

Plus, I had to expand back into an existing patio off my bedroom, to get close enough to plumbing, to allow a bathroom in the studio. That didn’t exactly make my wife happy…

Maybe, I need to turn the CR over, so that it points the other way… a mirror image… I could just build a big airlock/booth to allow you entry into it, from outside. Hmmmm…

I’m starting to think that the best idea would be to ditch the idea of having the studio so close to the house, and move it into (2) warehouses that are on the property. I could just build a connecting annex between them, and end up with a huge space to play in. It’s a neat idea, but it would cost a lot more. I’d ultimately be much happier, but it’s trying to figure out how to afford it… that’s the rub. And, I ain’t sellin no guitars! Nuh-uh!

Okay… maybe one or two… But I’ll cry… Oh Gawd… how I’ll cry!

I have access to as much gear as I need, so that’ll come later. What I can’t get “because I’m an old ‘used to be sorta famous’ guy,” I’ll buy out of a “war chest” that has about $60,000 in it, to date. (I checked with my accountant, yesterday!) LOL!

I need help with this! You have any suggestions? Comments? Sarcasm?

(Remember, I’m old. No “anatomical impossibilities,” huh?)

Help an old guy learn new tricks. It’s good karma!