AnalogueDiehard Studio (many pictures!)

Last Update 08-15-2025

Mixing Station

Hammond/Rhodes/Drums

MIDI Station

Racks

Epilogue

This webpage has plenty of pictures, it make take some time for all of them to load. Apologies for the low resolution of the old pictures, they were taken with a digital camera when they were in their infancy - in the early days, almost all consumer level digital cameras were 640x480 resolution.

Here's the progression of my studio over the years:

1995	2001	2003	2004	2004

2000	2009	2010	2011	2014

2016	2016	2016	2016	2016

My studio setups over the years were built carefully. I love creating my own sounds on analog synthesizers, most of which were acquired during the "great analog dump" of the early-mid 1980s when almost everybody was dumping them en masse to buy Yamaha DX7s, Roland D50s, Korg M1s, et al so analog synths could be had very cheap. All of my old analog synths except one (Moog Polymoog) have MIDI retrofits so they can be controlled from my studio MIDI computer. The Kurzweil 1000 modules (PX, HX, SX, GX all fully loaded) take care of the ROMpler playback sample duties. Hammond XK-3c/XLK-3 for the organ duties, still have my Hammond Porta-B and Leslie 760 from my gigging days of the 1980s. For electric piano, I've been happy with my 1967 sparkletop Fender Rhodes - I had an opportunity to buy a Wurlitzer for a good price but I was running out of room. The alternate synthesis synthesizers (FM, additive, LA synthesis, etc) had no appeal to me. For a long time the old stuff filled my needs with no compelling reason to replace them, until the Oberheim OB-X8.

The early studio was strictly MIDI with a four track cassette recorder sync'd to the MIDI computer using SMPTE sync (it was reliable in those days). Around 2008, I acquired a professional multitrack recorder that expanded to 24 tracks onto a hard disk, and I started adding pro audio processors. My original goal was to stay loyal to my moniker "analoguediehard" and acquire a vintage two inch 24 track tape recorder; thankfully a friend talked me out of it, as the Alesis HD24 turned out to be a much better purchase. Plugins and DAWs were starting to get better (but not great), so people were dumping their hardware studio processors to go full "ITB" thus pro audio equipment was cheap. I acquired a decent collection of gates/compressors from Drawmer and UREI (started out on that gawd-awful Alesis 3630), pitch shifter, various delays, equalizers, legacy and modern digital reverbs, plus more to build a good stage FOH system. No studio is complete without a good rack (sorry!). Mics were the next logical additions. My Eventide 2016s are the only modern processors. I was careful to avoid redundant processors.

The A&H GL-2200 board I initially purchase for gigging ultimately was relegated to the studio. While it is not a proper "studio console" with tape inputs, I found that the GL-2200 can be adapted for that purpose. The 32+ channels proved effective for all 24 tracks and the audio processors. The EQ is so effective that my other dedicated equalizers are reserved for tough tasks.

None of this is automated, and no I don't care. By 2014 my studio was largely complete and I stopped buying stuff. By that time the convention was full "ITB", but I was happy with my arsenal and I was not about to sell anything and lose money on my investment. I am also tired of learning curves.

Anymore, when new gear that gets my interest comes out I ask myself this question: DO I NEED IT OR DO I WANT IT? Impulsive buyers WANT THEM and I never fit that category. The key parameter is DO I NEED IT, NEED being the key word. As time goes by, the "yes" answer is less and less frequent. And at current, I am officially out of room in my studio.

As my studio system grew since 1995, it went through multiple re-arrangements (at least ten, I lost count). So for this 2016 arrangement to end all arrangements (famous last words) I abandoned the central work location concept and grouped certain gear by their use and laid them along the side of the wall of the basement where I used to live. I ultimately got tired of basement living and wanted to get the studio on the ground floor where I could enjoy sunlight. Using techniques I learned from my mother who was an interior decorator, I measured the instruments/racks/console and used scaled models to design the basement floor plan on quad paper.

As the system grew I noticed that the noise was building up - turned out to be a grounding issue. I designed a better power distribution system and now it is as quiet as a mouse. Arranging all this stuff is a compromise of ergonomics, access, convenience, etc... lot of planning!

Configuring a MIDI system this size is a big job. I had a lot of MIDI devices to squeeze into multiple sets of MIDI outputs from the MOTU micro express USB MIDI processor. This table is the mapping I designed for all the MIDI devices. The table helps to arrange MIDI note ranges, controllers, program change range (if applicable), and which JL Cooper MSB+/MOTU MIDI ports they are routed to. Each of the six MIDI outputs on the MOTU has a capacity of 16 MIDI channels. Some of the vintage devices retrofitted with MIDI have a limited note range and/or do not respond to MIDI controller messages, so I got creative and found a 2nd device with equal limit that could share the same MIDI channel. Some devices have MIDI input only so I acquired a MIDI Solutions T8 MIDI Thru box for those devices. It was a real squeeze to configure all my devices, and the only remaining 16 channels are via MIDI output #6 on the MOTU, which has no accompanying input port.

Ergonomics became a big consideration in the new arrangement. I like to do a lot of tweaking and I want the knobs for the synths and effects to be at close proximity and convenient. For the longest time I grouped the instruments around the MIDI computer as a central work location. Over time the MIDI drums and clonewheel organs got crowded out, and to maximize space for more keyboards I acquired a pair of 60in tall five tier stands. Then I added the console with the racks of outboard pro audio processors and a hard disk recorder. In the end it was all too disjointed and the tall keyboard tiers strained my back.

This 2016 arrangement (and today) did away with the central work location paradigm and I divided multiple sections I can work. The sections are Rhodes, Hammond, MIDI drum controller, mixing station, and MIDI station. Not shown is the space for my guitar stuff and other musicians as needed; drummer, singers, brass/reeds, etc. Probably the best thing I did was place the guitar stuff and my keyboards are extreme ends of the dwelling, so that I could still hear my playing over the loud guitars. I still perform in live bands, but almost everything stays in the studio; I used to tear down / set up stuff from the studio but that became so much effort that I eventually acquired duplicates (not of everything!!!) for gigging, which you can read more about in my offsite MIDI system.

I had my studio monitors perched on the vertical poles of my Ultimate Support keyboard stand, where they can swivel freely. With the sections of equipment, I am never in more than one place at a time. I placed the MIDI station opposite the mixing station, and exploited the rotating feature of the monitors; whichever MIDI or mixing station I am working at, I rotate the monitors to face me. This saved the expense of another set of monitors. I also became conscious of objects interfering with the sound field of the monitors, so I arranged the mixer, the processor racks and the keyboards so that they did not obstruct the sound field of the monitors. This has worked very well.

At the MIDI station I had to consider the arrangement of keyboards from a work perspective. The devices that are tweaked often or "jammed" from their native keyboard are placed in close proximity and kept at chest height; this applied to synths and processors. The work area is restricted to a single person, I am almost always positioned there. The keyboard and mouse for the MIDI computer are placed in a tray under one of the keyboards, for easy manipulation of sequences. Devices such as my Kurzweil modules are placed in the bottom rack because I had pretty much dialed in all the sounds I need and rarely manipulate them anymore. Some synths have very shallow features and/or full library of sounds, so I don't need them in close proximity. While the Oberheim Four Voice requires a lot of manipulations, it is so frigging big that there was nowhere it could be placed without obstructing the sound field of the monitors.

As a result of life interruptions, I finally bought a house where I could assemble the studio room I have long desired. I planned for retirement and intend to stay here until I croak, so I need no more studio re-arranging. The relocation was paid by my new employer, and it was very fortunate that I had Anvil ATA road cases for almost everything from years of gigging - I never once dreamed that they would be essential for the 1100 mile move! Over my life I have moved too often and by this time I was TIRED of moving. Re-assembling the studio was a big project that took a couple of years (I live alone and had to set up the house myself, so I had to build the resolve to get started). Moving a studio is HARD WORK. While confirming audio routings and MIDI busses I found no broken cables, knock on wood. But a bumpy rough ride in a moving trailer is going to wreak some havoc on gear even while padded in road cases - loose screws, broken fuses, unlatched plugs, interconnects to fix.

Some of the gear did have malfunctions, and I didn't have the workbench set up yet in the garage. For every two successful assemblies of gear, I found another malfunction that needed fixing... one... after... another. Some of the outboard FX needed help - audio hiccups, blowing fuses, slide pots gone bad, and one of the JBL monitors had developed a honky sound (luckily JBL still makes Control 5 monitors). All the keyboards in cases fared well, as did the guitar amps (I packed the tubes and transported them myself). Overall no physical damage from the moving crew, and I knew full well they will not always be gentle on household belongings. I moved the guitars and computers myself, everything I was carrying myself was packed in my pickup truck. Damn glad I had documented the routing and everything, otherwise I would had gone bonkers.

top

Mixing station

The speakers swivel on the poles so I can use them either at the mixer, the MIDI drums, or the keyboards. Another goal was to maintain a low height profile with all the gear so that the sound field from the monitors was not interrupted. My studio monitors are Control-5s with companion subwoofer. Yes they're ancient but they have served my needs well and I have no compelling reason to replace them (unless replacement drivers or speaker cones are no longer available).

There's racks on each side with FX; compressors, digital reverbs, EQs. Hard disk recorder is Alesis HD24 and it can be controlled over MMC from my sequencer computer. The A&H mixer has proven to be very versatile for the $$$, and almost all 40 channels are used (a 24 track recorder does not equal a 24 channel mixer). By keeping the height profile of racks to the sides low, the sound field from the monitors is not interrupted. I had initial concerns about reflections off the wall but it wasn't a problem. It's a good sounding arrangement. To minimize ear fatigue during extensive sessions I keep the monitor volume low. The JBL monitors are near field monitors that are designed for accurate reproduction but not projection - you don't use these to blast sound across the room.

Hammond, Rhodes, and MIDI drum kit

I occasionally gig the Hammond XK3c/XLK3 so the assembly rests in the lower lid of its Anvil case, ready to go. I prefer not to gig the Rhodes - it is an older 1967 model with original Raymac tines that sound great but they don't hold their tuning when bumped around. The MIDI drums is a hodgepodge of drum pads (Roland, Dauz, Simmons, Drum Workshop, Acupad aka Hart Percussion, etc) that I acquired over the years. I am a drummer and there are times when a pair of sticks gets a more realistic performance than a MIDI keyboard.

When I need to lay down drum parts on the MIDI drums, I can use the monitors from the mixing station. Another reason the monitor volume is kept low is that drums played too loud can blow the monitor drivers (yes it HAS happened). top

MIDI station

The master MIDI controllers (Kurzweil MIDIBoard and Oberheim XK) transmit MIDI to all the MIDI devices and to the MIDI sequence computer, which is immediately to the right. There's a tier above is that isn't specifically reserved for anything - I can use is as a music stand for wide scores or for modules or for another keyboard which is infrequently used (like my Korg DSS-1 sampler). Both sides are flanked with keyboard stacks and they all have MIDI retrofits. There was no way I could arrange all my keyboards from a central location so I reserved those positions for the ones with deep feature sets or those I frequently tweak so they are convenient. The sitting area looks cramped, but it really isn't. Even the stool is comfortable there, although there's only room for one person in that setup. From the sitting position the MIDI controller is comfortable, the monitors are pointed right at my ears (permitting low volume), the computer monitor is at eye level, I can reach all the boards to the side comfortably, and there's no more back strain! All the synths/modules in this area have MIDI (the vintage ones have retrofits). They include the Oberheim OB-X8, Moog Voyager, Oberheim OB-SX, ARP ProSoloist, Oberheim OB-X, Moog Memorymoog, Oberheim FVS, Moog Minimoog, Moog Source, Kurzweil 1000 ROMplers, Sequential Trigon-6, Oberheim OB-X8 module, Moog Taurus, Moog Taurus III.
There's a sliding tray under the ARP ProSoloist on the right with the keyboard and mouse for the MIDI sequencer computer. I build my parts on the sequencer then record audio of each synth/module to the hard disk recorder. The sequencer can sync to the hard disk recorder via MIDI MMC so I have remote control of the HD24 from the keyboards, or remote control of the sequencer from the mixer. MIDI computer system is an Apple iMac and a MOTU micro express USB MIDI router. Another key component is the JLCooper MSB+ MIDI patchbay, which can configure the MIDI routing from where I am working. I can control any area from any location. My keyboard racks contain ROMplers, line mixers, effects processors, and EQ/power amp for the monitors. Locating the racks for easy access while sitting at the MIDI controller required some compromise as some had to sit close to the floor. I chose to place the Kurzweil ROMplers close to the floor as I seldom needed to edit those sounds anymore and they are completely MIDI controlled. The power amp and EQ never needs touching other than power on/off. So my effects processors sit at accessible height because I tweak those often. On top of the rack drawers, the universal effects racks to the right of the MIDIBoard doubles as a stand for my iMac.
The keyboard stands on the sides close to the MIDIBoard are the short 48 inch Standtastic stands with three tiers on each. I have tried many keyboard stands and the Standtastic is the most flexible and rugged model I have found. Standtastics are best for a fixed location, others are better for quick teardown/setup for stage work. My stage keyboard stands are Bespeco (now K&M) and even then I had to modify them to fit my needs. The MIDI controllers sit on the one and only Ultimate stand I will ever own; it initially was my sole keyboard studio stand in an "A" frame format (see the 1995 picture), but the tubular tiers proved to be unreliable as they were not secure enough - one morning I found my Memorymoog on the floor from a five foot drop due to a loose tier (!!!). You can't tighten the clamps for the tiers for risk of splitting them, so there's no way to reliably secure the tiers from rotating. Ultimate are my least favorite keyboard stands. I re-configured the stand so it is a solid table support for the heavy/bulky MIDIBoard (which no longer "bounces" when I pound it like a piano), and as a bonus the vertical poles served as mounting posts for the studio monitors - right at ear level when I sit at the MIDIBoard.
The synths behind the MIDI station. These either have shallow feature sets that don't require much editing, or were impractical to place at the MIDI station. It was a compromise but it works. I chose to use the tall 60 inch Standtastic keyboard stands here, but only used three tiers instead of five. That was driven by the size of the instruments. Underneath them is the companion subwoofer for the JBL monitors. In the old setup they were too close to my listening perspective and I couldn't hear/feel the low frequencies due to longer wavelengths unless I stood back a distance (and I like bass). With them placed at the extreme end of the arrangement, now I can hear/feel the bass as they are far enough for the wavelengths to develop. That makes a difference at both stations. The Oberheim FVS is a recent acquisition, awaiting restoration. The FVS is hardly a shallow feature instrument, but it is so frigging big that I couldn't stack anything above it up at the MIDI station without interrupting the sound field. The only practical place was behind the MIDI station. I have a surplus Highly Liquid UMR2 MIDI retrofit (now sadly out of production) that will only enable MIDI note on/off for the FVS keyboard but there is little else in the FVS that can be MIDI controlled. However the UMR2 will work over a 64 note range which extends the 49 note keyboard of the FVS. Since the FVS is only 25% programmable it does require extensive editing so I arranged it for use while standing up. It's an instrument that gets a lot of unique sounds and is lots of fun to experiment with. An original RAM Minimoog with Lintronics MIDI retrofit is above the FVS. Unlike the MIDI retrofit on the Source, the mod wheel can be controlled over MIDI on the Minimoog. The Source still serves as a good bass synth; it may not have the solid fundamental of the Taurus pedals but it has features like variable pulse width/triangle waveforms and full ADSR EGs that get bass sounds the others can't. It has the Encore Electronics MIDI retrofit, I was one of their first customers when the retrofit was introduced in 1991. The Source is very good at fat synth leads but the MIDI retrofit doesn't control the mod wheel. When I want a stereo bass/ostinato synth sound I favor the Source through the Korg SDD-1200 which is a normalled signal path in my patchbay. The first polyphonic synth I owned since 1985 is my Polymoog; I don't use it much anymore (it can't be MIDI'd). But it is the only instrument I am sentimental about, so I converted it to a coffee table with a tempered glass top in my living room.
The Taurus pedals were never comfortable on the bottom tier near the floor in the old setup. This time around I tried to place them up at the MIDI station on the floor to the sides but that wasn't practical. I thought "can a set of tiers be installed on the back of the Standtastic stand" and by golly you can! No I can't play them with my feet, and no I don't care. I can play them with my hands or from MIDI. Because of their shallow feature set, not much editing is needed on them so their accessibility is good there.
I have a Moog Taurus II bass pedal controller underneath the MIDIBoard that is retrofitted with a MIDI interface so I can play the Source or Taurus pedals or any MIDI instrument from the MIDI pedal controller. I wish I had retrofitted them years ago, it is loads of fun playing synths with both my hands and feet. I built an A/B switcher and stepped attenuator for the studio. The switcher controls whether the audio from keyboards is routed to the MIDI station or to the mixing station, and whether the studio monitors receive signal from the keyboards or the mixer. This is useful wherever I am positioned, IE if positioned at the mixing station the MIDI sequence computer plays back the keyboards while I am balancing playback from the hard disk recorder. More details here.
Cabling... the necessary evil of recording studios. I have built my own audio and MIDI cables for over 40 years, and have settled on raw cable, plugs, and jacks with proven reliability. This is vital because the last thing I need during a precious moment of inspiration is hunting down a defective cable. I tried OTS cables but they proved to be unreliable. Long ago, I settled on a convention of select cable lengths - 25ft, 15ft, 9ft, 6ft. Never use custom length cables - a friend did that with his studio, and when he attempted to re-organize the room he had piles of too-short cables that couldn't be used anywhere else! Another necessary evil of studio are I/O panels and patchbays. I design and build my own I/O panels for my racks, which typically include inlets/outlets for AC power, audio jacks, MIDI jacks. Patchbays are used for routing audio and for normaling standard routings. I never liked adhesive backing on labels, the sticky residue they leave behind can be a challenge to remove especially when studio arrangements change! I opted for magnetic labels on the channels instead of adhesive labels. I made point labels using card stock paper (or business cards flipped over with the blank side on the back) attached to business card magnets; I cut them to size then apply them to each channel. On each label I use a color labeling convention that tells me which whether the point is input (blue) or output (red) - quick glance eliminates guesswork.
Accessories, accessories, accessories. Stored in rack mounted drawers. Various cables, DI boxes, etc are kept in these. Above them are the universal effects racks for my analog polysynths and the MIDI computer. Sometimes I will record a band for a demo. I bought this ProCo 150ft snake a long time ago for my stage PA system; since I moved south I really have no further need as the majority of live music venues are small. So the snake is now used for audio runs outside the studio area for a live band; the living room, the garage, or the screened in porch. Luckily the snake has excellent capacitance per foot rating, meaning that there is no signal loss over the entire 150 feet of snake cable.

Starting in 2005 I've collected an impressive array of professional audio processors. One of the first ones is the Eventide 2016 digital reverb. I swore off menu interfaces with LCDs, and this box has a panel full of controls for configuring the reverbs. The 2016 is a unique processor that sounds like no other; it is a modern remake of the famous SP2016 which has long been favored for its ROOM algorithm on drums. It sounds excellent on vocals and other instruments too. The 2016 only has room and plate algorhitms but they are highly effective. Very good ambient reverbs that has an uncanny talent of "lifting" a signal out of a busy mix without turning it up. I like the radial LED indicators integrated in the front panel endless encoders for a quick visual review of the presets. Below that are my UREI LA-22 dual channel frequency selective compressor/expander units, which are real problem solvers. I don't know of another hardware product with the same features. They can change a dog of a snare or kick drum into a monster. I was doing post processing on a live recording, and when the guitar player turned on his talkbox it would squeal a lot into his microphone. Only the LA-22 could tame that squeal without changing the tone of the guitar. I have to leave an empty 1U rack space above them because they generate a lot of heat. The JBL/UREI 7110 compressor below them is the granddaddy from which the LA series are derived from (I have a 2nd one for stage use). This has the optional Jensen output transformer that improves the fidelity, I reserve this for bass guitar or acoustic guitar. The 7110 and LA units include both a peak and RMS detector which can be blended to the audio control element. With the right blend the compressor sounds very natural. The Korg SDD-1200 is a dual digital delay that do modulated delays and has a generous rear patch panel. Great for stereo modulated delays (chorus, flanging), ping pong delays, doubling (REALLY good on toms). Does not alter the original signal one iota. The Yamaha E1010 below that is a simple delay which is not the greatest for modulated delays or the best fidelity, but it found a home for Haas processing of guitars, etc. The delayed signal has a different tone than the original which makes doubling sound more realistic. Sometimes imperfections can be a good thing. Finally we find the Moog Parametric Equalizer, which is one of the best ones ever made. Not an EQ I use for color, but my tool for surgical EQ. I had a live mix where the resonance of the snare drum was interferring with the vocal so I applied a mild notch at the offending frequency. As far as I know, this is the only parametric EQ with +/-20dB boost/cut (the renowned Massenburg parametric EQ isn't that steep). A 20dB notch on this thing can really kill an offending harmonic. The jacks on the I/O panel for each processor includes a TRS jack that interfaces with the insert on mixer channels, and separate input/output jacks for chaining processors.
Drawmer makes the best gates on the planet - they just WORK. The classic DS-201 dual gate is paired the DS-404 quad gate. I'll reach for the DS-404 for the simple gate tasks, and reserve the DS-201 for real problem signals. I have used them on drums, vocals, and live horns to minimize bleed from surrounding noise (I don't have isolation booths). They are excellent for post processing of raw recordings of live music, where bleed is a constant. Tunable gates work very well to block a snare drum leaking in the kick drum mic. The Drawmer DL-231 is a dual channel gate/compressor/limiter all in one. The gate (termed "expander" in this unit) is a much simpler affair than the DS units but they include an insert for frequency selective gating. Most compressors have peak or RMS detectors; this thing has log detectors which happen to be very effective on percussion/kick/snare. I had wanted a Lexicon in my arsenal so I chose the Model 200 because it is from the "legacy" era of Lexicon reverb algorithms and it has a panel full of knobs and switches for configuring the reverbs (no menu, no LCD). Luckily this is not redundant with the Eventide 2016. The Model 200 has algorithms for halls, plates, chambers, rich plates, splits, and inverse. When I want long reverbs I reach for this box. Everything from the Boston Symphony Hall to the Houston Astrodome. I used this box to reproduce a lovely "bloom" of a venue we played - when the drummer banged on his floor tom, it triggered a nice resonant reverb. I had to duplicate that. Hard to make a bad sound with the Lexicon or the Eventide. Pitch shifters are a necessity so I acquired the Eventide H969 "harmonizer". This is the peak of Eventide pitch shifting using discrete logic without a CPU (it does contain a CPU but it is used for the front panel not audio processing). Very intuitive front panel controls (no menu, no LCD), you press one button for chromatic pitch intervals. Also includes other processings like doubling, flanging, delay, doppler, reverse, repeat. This box will make two singers sound like a crowd. The last device is a Moog ten band graphic equalizer. Nothing exotic or "surgical", but when using boost it has a colorful sound.
This rack serves a dual purpose in studio or on stage. It has components that are optimized for vocals and drums. Top device is an Eventide 2016 digital reverb for vocals. These retail for $2000 and believe me they are well worth it (I now own three). I find that short ambient reverb is very effective on vocals, and this box has an uncanny talent of making the vocals get heard in dense guitar-heavy live music without turning up the mixer channels. Underneath the 2016 is a Korg SDD-2000 digital delay, also used for vocals. The Korg unit is delay only (max 4096ms) but it is programmable which is quick work when changing sounds at a gig. I programmed delay times of prime numbers, with the output level inversely proportional to delay time. The half rack width device under the Korg is a Rane FAC24crossover which I use as a highpass filter on the output of the Korg, which rolls off bass which makes the echo sound more natural and avoids mud with too much bass. Moving further down we find my drum processors. The Drawmer DL231 dual channel compressor is used on kick and snare. It is unusual in that the detector is a log type, which happens to be very effective on percussive sounds. Under the Drawmer is a Lexicon PCM-60 digital reverb for the snare. It's a different reverb quality than the 2016 but sounds great on snare, and a good "quick change" device. The next two are a pair of UREI LA-12 dual channel compressors for vocals. No single compressor works for everything, and these LA-12s give me four channels of compression that sound "transparent" when dialed in right - perfect for vocals. The EV EX18 stereo crossover underneath the UREIs is used as a high pass filter to roll off bass on the drum overhead mic (which blocks off stage bleed from nearby guitar amps) and on the vocals. The final device is a Tascam CD player for playing music during breaks.

Despite all this gear, there isn't much overlap in sounds or redundancy. The Andromeda and Voyager can mimic sounds from most of the vintage gear; the Andromeda is currently the only gear that gets shuffled out for gigging (it is compact enough that I can't justify a duplicate, and trading prices for used Andromedas are quite high). I have the RME version of the Voyager and another MIDIBoard for gigging, and after sound development work I only need to transfer my work between studio and stage via MIDI dumps on compact media. The vintage stuff are rugged enough to gig if I wanted to - I restored them and made modifications so they can hold up better. top

This arrangement has worked very well and I am quite happy with it. This is certainly the longest it has endured without another re-arrangement! The basement at my old rental house wasn't ideal - it was unfinished and as a consequence I have to keep everything covered with towels when not in use due to the dust constantly falling from the open ceiling. With the house I purchased, the studio is now above ground where I can enjoy the sunlight while making music. This is a private studio that is not for hire, but for giggles I developed this chart of studio rates.

top

contact info

Home