Home
I have been in love with recording since around 1980 when I started working as a tape operator in a 16-track recording studio.Since then I have always studied the crafts of songwriting and recording. Over the years I have collected tons of gear but over the last twenty years or so I have focused on great sounding gear, some vintage, some new. Part of the rationale for collecting old gear is nostalgia but some of the old stuff has magic and continues to represent the sonic state of the art. To be fair, and not to lionize all things old, there was plenty of junky gear back then which sounded awful (anyone remember Sound Workshop?), most of which has completely disappeared over time. Some gear is quite new or ‘NOS’ based on older designs such as the Manley Elop and Portico. The bottom line for me is if it sounds great it doesn’t matter where it comes from or how old it is.
(Speaking of Portico, I believe it is destined for ‘legendary’ status. In many cases the 5032 is more usable than the 1073 and I believe it will develop the cachet now reserved for the 1073.) Speaking of legendary, check out the Tube Trap section below.
I am always interested in doing sessions with people who are committed to the craft. This usually means old-timers like me who come from an analog studio background and like to spend time and energy on performance, sound quality, production, and arrangement without rushing. It is true that this can be more expensive than other approaches but it is, in my opinion, certainly the most satisfying way to make a record. I prefer to collaborate on production and arrangement, mix old with new and patiently build up a record.
My rig is built around thePARISplatform which reminds me a little of a quieter version of the Studer A-80 2″ at 30 IPS without noise reduction. I’m not crazy about the PARIS EQ and tend not to use it if it can be avoided (I EQ using the 1073s or 5032s but prefer to get the sound I want from the mic using placement; perhaps adding compression or limiting if it helps. For mastering, I find myself increasingly using the 5032s.). From time to time I think about retiring PARIS but to replace the converters with something of equal warmth and trasparency would probably mean Meitner-quality pieces which are probably not worth the investment so, in the end, I will probably continue to purchase PARIS parts and keep an inventory of PARIS items as I have in the past.
The control room is carefully designed (at least in terms of working within the framework of what is permissible given the limited physical space) and equipped with ASC Tube Traps, custom quad diffusors and Helmholtz resonators. I monitor through three systems – Mackie HR824s (original), Yamaha NS-10s and a newly-acquired old pair of Urei 809′s with re-foamed drivers and updated crossovers. This provides a good range of options, especially in terms of ensuring mixes translate to the real-world. The Mackies are self-powered, the NS-10s are powered by a Phase Linear 400 power amp lovingly restored and optimized by my good friend Nick Soudas (Nick is one of the best amp artists in the world IMO), and the Urei’s use the Bryston 3B.
I recently added some ASC 16″ and 13″ full rounds to the existing arsenal and the room is sounding great. The sweet spot is increadibly wide and I encourage you to stop by and listen to your mixes.
A Word About ASC Tube Traps…
I am an acoustics freak. For longer than I can remember I have been mesmerized by the physics of sound sloshing around in rooms. I have dabbled in developing my own solutions and products and have a fairly rich understanding of the dynamics. But nothing, and I mean nothing, compared to what the folks at ASC (Acoustic Sciences) know. The lead physicist/engineer at ASC is Art Noxon. I have known Art for almost twenty years and he is truly plugged into the deepest reaches of the acoustics cosmos. I have the good fortune of working with some great electrical and software engineers in my day job so I know extreme engineering when I see it. Art is one of those ‘it’ guys whose ideas and intuition result in products which bear themselves out when applying the most rigorous physical measurements available. What is so amazing is that his ideas come seemingly instantaneously and I have yet to come across a situation where the idea did not equate to a brilliant product. If this all sounds gushy I do not apologize. Art’s products are, simply, the best acoustical treatments ever made. Yes, EVER made. I have had the good fortune of experiencing scores of great-sounding studios built by designers such as Tom Hidley and can state, unequivocally, that Art’s rooms sound as good if not better and cost about a million dollars less.
The Tube Trap is probably ASC’s best-known product and the things are simply magical. I defy anyone to find a review of Tube Traps less than glowing. Bad reviews don’t exist because they stand alongside the great and protean audio products of our time. The serious audio community, known for its biases and factional sectarianism, agrees. I will put my control room up against any other, anywhere and I have ASC to thank. Imaging, clarity and a true, discernible fast and tight bottom are the rewards. Art – you are a genius. Chris – you are and have been a great friend. Thanks to you both.
If you are looking for acoustical solutions, just call ASC.
Check out their site, salivate, imagine, dream and see if you can hold yourself back. I doubt it. If you don’t believe me just ask Bruce Swedien.
My latest single called ‘Lips of Bloody Awful Truth’is doing quite well on Jango. If you want more information please visit caseypechet.com
Keith Emerson’s ‘Tarkus’ suite is the high-point of progressive rock composition. I have arranged and recorded a montage of ‘Tarkus’ available here Tarkus
Please email me or call 403 988-6277 and ask for Casey for more info.
vintagebin audio recording is located inCalgary Alberta Canada
