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Housed in the livery of Pasadena's 1889 Firehouse, this groundbreaking facility founded by Producer/Songwriter Tena Clark (Betty Crocker, General Mills, Johnson & Johnson, Kellogg’s, Mead Johnson, 7 UP, Target, Toyota, United Airlines and Victoria’s Secret), is the perfect mix of analog and digital recording.
Firehouse Recording Studios consists of three studios, each of which has been designed for an extraordinary amount of flexibility.
The recording
platform in Studio A is Digidesign's latest Pro Tools HD3/192
system paired with the Pro-Control (80 channels wide), running
on the Apple Macintosh G4 computer with dual cinema displays. Choice of outboard
effects units? "Once again, the old school dominates here,
providing a warm analog sound with tube-based electronics. Classic
analog compressors include the Universal Audio LA2A, Urei 1176,
DBX 160 and 165, and Neve 33609 and 2254. Other high-end effects
are also available, such as the T.C. Electronics System 6000 5.1
reverb, Lexicon 480 reverb, Eventide H3500 harmonizer, Symmetric
606 delay, T.C. Electronics 2290 multieffects and Empinical Labs
Distressor/Compressor," says studio manager, Melanie Mullens
Hoyson. Because Firehouse Recording Studios is designed for recording music for film scores as well as record projects, video monitoring is essential. Studio A offers two alternatives: a digital DLP front projector and a flat-panel plasma display. The Sony PLC-XP45L was selected for its superb image quality and low noise. The PLC-XP45L projects onto an 80x45-inch GrayHawk screen from Stewart. The screen, which is designed specifically for DLP projectors, retracts into the ceiling at the front of the control room when not in use. In addition, it is microperforated, which allows the sound from the speakers behind it to emerge unimpeded. Behind the console is a Sony PFM42B1 plasma display that electronically descends into a cabinet behind the console when not in use. Also, the projector requires a fairly dark room, while the plasma display does not. The main tracking room has a large direct-view TV monitor for the conductor as needed. For Studio A, Firehouse selected Meyer's new X-10 for the front left, center and right tuned by famed engineer Bob Hodas. "This speaker has already impressed clients with its clarity, smooth top end and tight bass," says Melanie. The surround speakers include four Meyer UPA-1Ps, two for sides and two for surrounds (which prepare the studio for future 7.1). The extreme low end is handled by two Meyer X-800 subwoofers mounted at the front of the control room, for near-field monitoring, a pair of Meyer HD-1s. Also available are the ubiquitous Yamaha NS-10s and Auratones. Clients can also bring their own monitors, if desired.
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Studio A, the
primary control room (24'6" deep by 22' wide), faces the main
tracking room (21'3" wide by 38'6" long by 14' high) and
can accommodate up to 35 musicians. The control room adjoins three
isolation booths that lead into the main tracking room. Studio B (13'4" long by 10'10" wide), the larger of the two 5.1 control rooms, shares a wall with Studio A's tracking room. A glass window provides good line of sight. In fact, if necessary, Studio B can be used as a control room for Studio A's main tracking room or as an additional ISO booth for Studio A. Studio C, the smallest control room (13'4" long 10'1" wide) is used to create the audio programming for United Airlines and Air Force One and Two. In addition
to Studios A, B and C, there are two other rooms set up to facilitate
audio post-production work, one of which has been contracted for
the next two years by film composer Mark Mancina (Haunted
Mansion and Brother Bear) also created the music for Disney's theatrical
release of Tarzan. Mark, recognizing the power and flexibility that
this facility has, set up his room to network with Studio A and
with his studio in Lake Arrowhead. The studio's audio and data network wiring, designed by industry veteran Paul Cox, snakes through the new walls. For now, all computers are connected via Ethernet, but the studio is equipped for fiber-optic cables in the very near future. In addition, every room (including the offices, kitchen, and outdoor patio) has its own audio tie-lines. All tie-lines go through the machine room, in which pairs of 8-channel Elco connectors provide patching access to all rooms. Studio A has 80 channels of inputs and outputs, while the small studios have 24 channels and the offices each have 16. "When it came to equipment, Firehouse Recording Studios wanted to combine the latest in computer-based digital recording with classic analog gear - striking a balance between old and new, past and future. Still, the appeal of analog's warm sound is undeniable, and, through this combination, that warmth can be captured in a digital recording. That said, Firehouse Recording Studios offers the best of both worlds," says Stewart. Firehouse Microphone
cabinet offers an extensive collection of industry standards like:
Neumann TLM170s, KM84s, U89s, U8s, AKG 414s, KM184's and 480s; Electrovoice
RE15s and RE20s; Sennheiser 421s; Schoeps and Shure SM57. Plus,
you can find the much desired tube mics, including a classic AKG
C24 stereo mic and Neumann M49's. Newer tube mics include a Microtech
Gefel (which is a little brighter than some other tube mics but
still very warm), two Neumann M149s and the Blueberry. Firehouse Recording Studios will offer complete concierge services, including access to world-class hotels, restaurants and spas. Located in the heart of historic Pasadena, it is within walking distance from some of southern California’s finest restaurants and shops. “In building one of the nation’s finest recording centers, we have assembled a stable of the best equipment and technology available, including the latest in computer and digital technology, the best in microphone, speaker and display technology, the best in construction and acoustics, and to top it all off, a #225 7’4”Bösendorfer Grand Piano,” says CEO, Tena Clark.
Contact: While in Pasadena, visit: Burke Williams
Day Spa
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