Professional PA hire, Post Production & Remixing

The “hands on recordings” Recording Studio (more than the sum of it’s parts…)

This is my humble recording studio it’s been going strong for about 10 years now and it’s seen lots of action for recording, production, post production and mastering. As you can see it’s mainly software based but don’t be fooled into thinking that this limits me from producing professional work. Lots of people make the mistake of thinking that you need lots of expensive hardware to do a professional job but this is far from the truth. It’s not so much what kit you have, it’s more knowing how to get the best out of what kit you have. Due to my Music Production courses at NCN Clarendon College and the Square Centre recording Studio in Nottingham up to HND level, plus the work experience I did working for a voluntary project based at the, Square Centre recording studio called, “Soundtracks,” which had other voluntary  projects such as, “Fallen Angels,” and, “Include,” where I ran numerous recording and production sessions for young people to whom  normally would not be able to afford studio time in a commercial  recording studio which in all gave me a good solid foundation. Then after that in this very studio I worked with producer/songwriter/vocalist,  Del St Joseph who has had a long successful history in the music industry with several hits under his belt. One of which being, “Please  Don’t Go,” by K.W.S, (UK number 1 for 6 weeks, number 4 US Billboard  Chart 1990/1), as his Chief Engineer helping him start up his Production  Company “Fourjayz”. Over the years we collaborated with producer Mike Pela from London who has a long production history in the music industry  with artists like, Sade, Savage Garden, Erasure, Boy George, Ace of  Base, Maxwell and Everything but the Girl. All of this education and experience enables me to get the most out of what I have.

A Bit About My Kit

Computer

I’m running a Quad Core PC with a M-Audio Delta 44 audio interface (M-Audio are owned by Avid who also own Pro Tools) using Logic Platinum 5.5 on Windows XP with lots of VST/DirectX instruments and plugins.

Hardware

My mixer is a Mackie 1604-VLZ Pro which I love. It’s so clean and has an enormous amount of headroom which lots of mixers at this price range don’t seem to have.

My monitors are the wonderful industry standard Mackie HR824’s which match perfectly with the Mackie mixer, and due to them being active there’s no power amplifier getting in the way colouring the sound.

My midi interface is a MOTU midi express which enables me to interface almost any midi kit I throw at it whilst keeping everything in time.

Then there’s the latest addition to the studio the amazing Blue Bluebird condenser microphone this is a truly great mic with a dynamic range that most condenser microphones don’t have at this price range.

Here are some examples of some of the more recent work done here:

Mortality by Tribal Infinity PsyTek Remix

Hypnotized by Kat Starr PsyTek Dance Remix

Watch this space for more on what’s happening at the Hands On Recordings studio

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4 responses

  1. I have to agree with your ethos that it’s not what you’ve got but what you do with it. As a photographer I find it’s the same. It’s all very well having a swish, all singing and dancing model but without good composition, lighting and subject matter the quality of camera is irrelevant.
    Knowing your craft is far more important, and you’ve obviously put in the time and energy to learn yours with the best!

    07/01/2011 at 5:38 pm

  2. Interesting post, but this is a completely irrelevant question: I just came across an article on the BBC about download vs CD, in which one of the people interviewed claimed that many people still think vinyl is the best medium for DJing and still has a good future.
    Any thoughts/opinions?
    The article is at http://www.bbc.co.uk/news/business-12164531

    13/01/2011 at 3:54 pm

    • Interesting point Mr Vagg. As an ex Vinyl DJ of 12 years I can say that vinyl is still relevant as it does have a larger dynamic range in comparison to other digital formats like CD/mp3 etc and I have many vinyl DJ only friends who will fight for the cause. However, the sound engineer in me knows that every time a vinyl is played the recording is damaged so over time you end up with noisy mess of distortion that once was an amazing tune. To this end I changed over to CD DJing and to be honest I’ve never looked back. As a sound engineer I boost the recordings and re-copy them back to CD which seems to make a huge difference plus the Pioneer CDJ-1000 CD DJ Decks enable you to do so much more than you ever could with vinyl decks. More in a post to come…

      13/01/2011 at 4:15 pm

  3. I’ll await it with interest… meanwhile I’ve just read that it’s possible to make one-off vinyl records, also called dubplates, though the kit involved is a few thousand quid. Apparently there’s a whole cottage industry of making these things for specialist markets such as reggae and drum and bass – press it, use it, when it wears out you make another one from the original digital file…

    13/01/2011 at 4:43 pm

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