It's all about the music !
STUDIOS
FEATURING MOUSe STUDIO of Seattle
and Threshold Sound + Vision of Santa Monica California
VIEW OF THE LIVE ROOM AT MOUSe
Story and interview coming soon but here's their
information for availability and rates:
www.mouserecording.net
mouse@speakeasy.net
206.926.3546
THRESHOLD SOUND + VISION.......is a state of the art
9000 square foot recording facility located in beautiful Santa
Monica California. This is what I would describe as a dream
studio with everything a band, artist or producer could
ever wish for in a professional studio. Recently I spoke with
TS+V manager, Mickey Schuman and I soon realized that this
was a man who loves his job and what he has helped to
create. His passion for music,film,video and live performance
is matched by his kindness and respectful ways. Read on as we take you into the world of Threshold Sound + Vision with our
guest, Mickey Schuman.
FEATURING MOUSe STUDIO of Seattle
and Threshold Sound + Vision of Santa Monica California
VIEW OF THE LIVE ROOM AT MOUSe
Story and interview coming soon but here's their
information for availability and rates:
www.mouserecording.net
mouse@speakeasy.net
206.926.3546
THRESHOLD SOUND + VISION.......is a state of the art
9000 square foot recording facility located in beautiful Santa
Monica California. This is what I would describe as a dream
studio with everything a band, artist or producer could
ever wish for in a professional studio. Recently I spoke with
TS+V manager, Mickey Schuman and I soon realized that this
was a man who loves his job and what he has helped to
create. His passion for music,film,video and live performance
is matched by his kindness and respectful ways. Read on as we take you into the world of Threshold Sound + Vision with our
guest, Mickey Schuman.
DGT: Michael we’d like to thank you for taking the time to talk to us about Threshold Sound + Vision at
the commencement or our new STUDIOS section of the webzine.
MICHAEL: My pleasure Bruce. Thank you.
DGT: Could you give us a brief history of the company. When and how did it begin and how did you become the Studio manager there?
MICHAEL: Threshold Sound +Vision was born out of the closing of Sony Music Studios in Santa Monica 6 years ago. Peter A. Barker, a very accomplished engineer and producer, was the Director of Engineering at that time, and his partner Marc Schrobilgen was also at Sony doing video production and editing. When Sony decided to close the studio, Peter and Marc got together, bought all of the studio equipment, and alas, Threshold Sound +Vision was born. Just over a year ago, they bought the historic Scotti Brothers Studios building in Santa Monica, totally refurbished it, and moved in their operations. It’s a beautiful 9,000+ sq foot facility near the beach, where we do everything under one roof, from records and commercials, to everything audio/video. I first met Peter when he was working at The Village Recorder many years ago. I did some mixing and mastering at Threshold several years ago. And then about 6 months ago, Peter and Marc invited me to come on board with them and help run their operations. And it’s just been great so far.
DGT: Your team works with many well-known artists for audio recording as well as film and video production. Do you also work with indie artists or smaller projects which may have started on a home digital studio and have come to you for additional tracking or perhaps mastering?
MICHAEL: We do work with indie artists and see more and more of them all the time. Many projects move back and forth from our facility to the home studio, and back again. And then we handle the mastering as well.
DGT: While we’re on the subject of home studios and computer software programs I’m sure you would agree that artists today have access to more affordable technologically advanced recording equipment than ever before. How then do large studios keep from becoming obsolete, and what can they offer that home studios just cannot possibly replicate?
MICHAEL: Interesting and appropriate question. We are seeing a lot more of just that. Many people recording at home., and some big studios closing. Or they come here to do the tracking, overdub at home. Back here to mix. Today in order to survive, a studio has to think in the 21st century. Know the trends, and clients’ needs, and supply solutions. We cater to indie artists, but we also have great equipment that is comparable to the best studios in the country. The amount and cost of outboard gear we have here would be prohibitive to the average home studio owner, number one, and number two, we have one of the most unique consoles in the world. A boatload of great vintage gear, as well as fully blown Pro Tool HD with all of the plug ins. Our main tracking studio (Studio A) is a nice sized room, surrounded by four ISO booths, so it is really great for live tracking of bands. And we have a very unique Yamaha Grand Piano, with a Disklavier, which had midi out. A great instrument and tool. Elton John loves this piano, as does Fiona Apple. You can’t get any of this at home.
DGT :In reading about your company I noted that you have perhaps one of the finest Neve 8078 consoles in the world. What is it with these legendary boards and why do studios all over the world envy anyone possessing one?
MICHAEL: Neve consoles have quit a history of sounding great, and became especially well known from many Beatles recordings. Many great records have been recorded and mixed on Neves. I have a long personal history with Neve 8078 Series Consoles. There were several studios in Hollywood back in the day that had them, not the least of which was Hitsville Studios in West Hollywood. That was Motown’s three studio headquarters, and all three rooms had 8078’s. I worked on all three consoles quit a bit. Great sounding boards. Our 8078 rises above them all, frankly. It’s been totally “hot rodded” by Peter Barker, and I can tell you for sure, there is more punch, more air, more definition, more fatness, more headroom, and 84 flying faders, (twice as many as other 8078’s). This board really rocks. And we have additional in-board older Neve mic pres, API eqs, and a lot of other in-board goodies. Going through this board is like night and day compared to mixing ‘in the box’.
DGT: It looks like you are involved in a cooperation project with an organization called Virginia Avenue Park, providing internships. What role do young people and college students play at Threshold Sound + Vision? Could you elaborate on that for us?
MICHAEL: We have been implementing an intern program here, bringing in students and other young people to work their way up to becoming engineers, producers, sound designers, editors, etc. They ultimately can become a part of our staff. Some already have. Santa Monica College is just a few blocks away, and we have been discussing the possibility of developing new college courses with them, some of which would be in-studio.
DGT: Michael I’d like to go back to the subject of equipment for a moment. So many home studios do great work laying down the basic track, even remarkable vocal and drum mixes but then fall short of hitting the mark getting the levels all right on for marketing a CD and making it “retail ready “. Why is mastering so crucial to the success of a CD or EP release and what makes your company stand out when it comes to this step in the process?
MICHAEL: Sometimes people don’t really understand the value and utmost importance of mastering. Great mixes need to stay that way, and compare in levels to other songs on the album, as well as other albums. That process demands superior hearing and extensive knowledge about the mastering process. In some facilities, you have one but not the other. We pride ourselves in not only having great gear, but also great Ears. We have the best in audio and digital processing. And often, we save not so great mixes, with excellent mastering. Mastering, like mixing, is a critical stage in the production of music. You can really make it, or break it in the mastering. If you have good mixes, mastering should not be a difficult process. On the other hand (ear), mastering can really alter the sound of your mixes, and that may or may not be a good thing. Depends how much is really needed. I have seen some ads lately on the internet for ‘mastering’, and you know it’s someone with a computer and some software working out of their apartment. It takes Years and Ears of in-depth experience before one becomes a true Mastering Engineer. And then you need the real state-of-the-art analog and digital tools to execute cutting edge mastering. It takes a real expert to operate this equipment, and great ears to make great sounds. We have all of that here, and with some additional equipment other mastering studios do not have. Recently we Mastered Pearl Jam, BB King, and a ZZ Top Live Concert DVD in 5.1 Surround. And we cut vinyl! Very few studios can do that today. We actually have a Neuman Disc Mastering Lathe here that I mastered a lot of records on 25 years ago! (I was only 2years old). People are still cutting vinyl.
DGT: With all the incredible equipment, instruments, microphones and software at your disposal is there anything that your facility does not yet have but plan to soon acquire?
MICHAEL: Right now we have more than enough hardware, software, microphones and other toys. I’m not sure what else we will purchase in the near future, but we are always checking out new equipment.
DGT: Michael my final question is about your company being a green company. How did you create an environmentally friendly and conscientious Recording and mastering facility ?
MICHAEL:We do a lot here actually. We are working with Sustainable Works Business Greening Programs to promote sustainable practices and become certified as a Green Business. We have installed energy efficient lights throughout the facility. We recycle everything from printer cartridges, to electronics including used CDs, DVDs, tapes, etc., and separate all hazardous materials, such as used batteries and fluorescents from the trash, and drop off at a recycling center. We continue to educate our staff on the importance of recycling. We shut down all equipment when not in use. We purchase recycled office supplies and green cleaning products. We use recycled marketing materials, and business cards printed with soy based ink. And we continue to research and implement new methods to further the “Greening” of our operations.
DGT:We’d like to thank you once again for spending time and sharing information with our readers and especially for being the very first feature for this new STUDIOS department at damngoodtunes.com
the commencement or our new STUDIOS section of the webzine.
MICHAEL: My pleasure Bruce. Thank you.
DGT: Could you give us a brief history of the company. When and how did it begin and how did you become the Studio manager there?
MICHAEL: Threshold Sound +Vision was born out of the closing of Sony Music Studios in Santa Monica 6 years ago. Peter A. Barker, a very accomplished engineer and producer, was the Director of Engineering at that time, and his partner Marc Schrobilgen was also at Sony doing video production and editing. When Sony decided to close the studio, Peter and Marc got together, bought all of the studio equipment, and alas, Threshold Sound +Vision was born. Just over a year ago, they bought the historic Scotti Brothers Studios building in Santa Monica, totally refurbished it, and moved in their operations. It’s a beautiful 9,000+ sq foot facility near the beach, where we do everything under one roof, from records and commercials, to everything audio/video. I first met Peter when he was working at The Village Recorder many years ago. I did some mixing and mastering at Threshold several years ago. And then about 6 months ago, Peter and Marc invited me to come on board with them and help run their operations. And it’s just been great so far.
DGT: Your team works with many well-known artists for audio recording as well as film and video production. Do you also work with indie artists or smaller projects which may have started on a home digital studio and have come to you for additional tracking or perhaps mastering?
MICHAEL: We do work with indie artists and see more and more of them all the time. Many projects move back and forth from our facility to the home studio, and back again. And then we handle the mastering as well.
DGT: While we’re on the subject of home studios and computer software programs I’m sure you would agree that artists today have access to more affordable technologically advanced recording equipment than ever before. How then do large studios keep from becoming obsolete, and what can they offer that home studios just cannot possibly replicate?
MICHAEL: Interesting and appropriate question. We are seeing a lot more of just that. Many people recording at home., and some big studios closing. Or they come here to do the tracking, overdub at home. Back here to mix. Today in order to survive, a studio has to think in the 21st century. Know the trends, and clients’ needs, and supply solutions. We cater to indie artists, but we also have great equipment that is comparable to the best studios in the country. The amount and cost of outboard gear we have here would be prohibitive to the average home studio owner, number one, and number two, we have one of the most unique consoles in the world. A boatload of great vintage gear, as well as fully blown Pro Tool HD with all of the plug ins. Our main tracking studio (Studio A) is a nice sized room, surrounded by four ISO booths, so it is really great for live tracking of bands. And we have a very unique Yamaha Grand Piano, with a Disklavier, which had midi out. A great instrument and tool. Elton John loves this piano, as does Fiona Apple. You can’t get any of this at home.
DGT :In reading about your company I noted that you have perhaps one of the finest Neve 8078 consoles in the world. What is it with these legendary boards and why do studios all over the world envy anyone possessing one?
MICHAEL: Neve consoles have quit a history of sounding great, and became especially well known from many Beatles recordings. Many great records have been recorded and mixed on Neves. I have a long personal history with Neve 8078 Series Consoles. There were several studios in Hollywood back in the day that had them, not the least of which was Hitsville Studios in West Hollywood. That was Motown’s three studio headquarters, and all three rooms had 8078’s. I worked on all three consoles quit a bit. Great sounding boards. Our 8078 rises above them all, frankly. It’s been totally “hot rodded” by Peter Barker, and I can tell you for sure, there is more punch, more air, more definition, more fatness, more headroom, and 84 flying faders, (twice as many as other 8078’s). This board really rocks. And we have additional in-board older Neve mic pres, API eqs, and a lot of other in-board goodies. Going through this board is like night and day compared to mixing ‘in the box’.
DGT: It looks like you are involved in a cooperation project with an organization called Virginia Avenue Park, providing internships. What role do young people and college students play at Threshold Sound + Vision? Could you elaborate on that for us?
MICHAEL: We have been implementing an intern program here, bringing in students and other young people to work their way up to becoming engineers, producers, sound designers, editors, etc. They ultimately can become a part of our staff. Some already have. Santa Monica College is just a few blocks away, and we have been discussing the possibility of developing new college courses with them, some of which would be in-studio.
DGT: Michael I’d like to go back to the subject of equipment for a moment. So many home studios do great work laying down the basic track, even remarkable vocal and drum mixes but then fall short of hitting the mark getting the levels all right on for marketing a CD and making it “retail ready “. Why is mastering so crucial to the success of a CD or EP release and what makes your company stand out when it comes to this step in the process?
MICHAEL: Sometimes people don’t really understand the value and utmost importance of mastering. Great mixes need to stay that way, and compare in levels to other songs on the album, as well as other albums. That process demands superior hearing and extensive knowledge about the mastering process. In some facilities, you have one but not the other. We pride ourselves in not only having great gear, but also great Ears. We have the best in audio and digital processing. And often, we save not so great mixes, with excellent mastering. Mastering, like mixing, is a critical stage in the production of music. You can really make it, or break it in the mastering. If you have good mixes, mastering should not be a difficult process. On the other hand (ear), mastering can really alter the sound of your mixes, and that may or may not be a good thing. Depends how much is really needed. I have seen some ads lately on the internet for ‘mastering’, and you know it’s someone with a computer and some software working out of their apartment. It takes Years and Ears of in-depth experience before one becomes a true Mastering Engineer. And then you need the real state-of-the-art analog and digital tools to execute cutting edge mastering. It takes a real expert to operate this equipment, and great ears to make great sounds. We have all of that here, and with some additional equipment other mastering studios do not have. Recently we Mastered Pearl Jam, BB King, and a ZZ Top Live Concert DVD in 5.1 Surround. And we cut vinyl! Very few studios can do that today. We actually have a Neuman Disc Mastering Lathe here that I mastered a lot of records on 25 years ago! (I was only 2years old). People are still cutting vinyl.
DGT: With all the incredible equipment, instruments, microphones and software at your disposal is there anything that your facility does not yet have but plan to soon acquire?
MICHAEL: Right now we have more than enough hardware, software, microphones and other toys. I’m not sure what else we will purchase in the near future, but we are always checking out new equipment.
DGT: Michael my final question is about your company being a green company. How did you create an environmentally friendly and conscientious Recording and mastering facility ?
MICHAEL:We do a lot here actually. We are working with Sustainable Works Business Greening Programs to promote sustainable practices and become certified as a Green Business. We have installed energy efficient lights throughout the facility. We recycle everything from printer cartridges, to electronics including used CDs, DVDs, tapes, etc., and separate all hazardous materials, such as used batteries and fluorescents from the trash, and drop off at a recycling center. We continue to educate our staff on the importance of recycling. We shut down all equipment when not in use. We purchase recycled office supplies and green cleaning products. We use recycled marketing materials, and business cards printed with soy based ink. And we continue to research and implement new methods to further the “Greening” of our operations.
DGT:We’d like to thank you once again for spending time and sharing information with our readers and especially for being the very first feature for this new STUDIOS department at damngoodtunes.com
MICHAEL : CLOSING STATEMENT…….
It’s the 21st Century, things are evolving rapidly in the studio arena, and we are happy to still be on the cutting edge of technology, while still being able to do things old school at the same time. That’s why people love working here. We like keeping people happy.
It is quite an honor to be the first feature for your new “Studios” department at damngoodtunes, and on behalf of everyone here at Threshold Sound + Vision, I would like to express our appreciation. Please come by for a tour when you are in the area. And please tell your readers to check out our website at www.thresholdsound.com and at www.myspace.com/thresholdsoundandvision. Let me also mention that we can do package deals, “all-in”, with producers, engineers, studios, (musicians if necessary), mastering, music videos, etc. You can check out bios at: www.myspace.com/peterabarker and
www.myspace.com/musicolorentertainment . I would also like to extend an offer of a special discount on studio time and mastering to your readers if they are first time clients here. I will cut them a “Damn Good Tunes” special!
They can contact me via email, at: micky@thresholdsound.com or via myspace.
Thank you again Bruce.
Our Thanks To You Too Michael!
Once again folks, thats
ADVERTISEMENT
ARE YOU CONCERNED ABOUT YOUR HEALTH?
damngoodtunes.com and our staff endorses and uses this all-natural product daily!
ARE YOU CONCERNED ABOUT YOUR HEALTH?
damngoodtunes.com and our staff endorses and uses this all-natural product daily!
what ?
Copyright(c.)2008 kanbllc
All Rights Reserved
dgtdamngoodtunes@yahoo.com
see us at MySpace :
www.myspace.com/dgtdamngoodtunes
