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Testimonial
by Producer and Engineer OZ Fritz
"I would like
to tell you why Prairie Sun Recording Studios is my favorite studio
to work at. It’s a synergistic combination of many factors
that go into making this a world-class facility with unique creative
qualities that foster cutting edge original recordings.
Technically speaking, Prairie Sun is equipped with incredible vintage
gear as well as the best that modern world has to offer. The tracking
room has an immaculately maintained classic, class A, discreet Neve
console that provides warmth, clarity, and overall “bigness”
of sound that just can’t be beat. It also doesn’t hurt
that the microphone selection is an engineer’s dream come true
with classic models such as the Neumann’s M49, M69 (a stereo
tube) U47, U67, U87, KM54, KM84, AKG C12, 414 and much more to choose
from. All of the tube mics have been refurbished to sound top notch.
They also have my latest microphone of choice; the Royer ribbon
mic that is great on guitars and string instruments in general for capturing
a thick, rich sound.
The outboard gear list is equally impressive also combining the
best of the old with the best of the new and includes UREI 1176’s,
LA2A, LA3A, Avalon, Manly, Requisite, Empirical Lab’s Distressor,
and more. The compressor that has lately become my favorite is the
Chandler “Abbey Road” model that sounds exactly like the
style of the compression that George Martin and the Beatles used
so effectively to great creative advantage. Prairie Sun also has
a Chandler channel strip that sounds extremely punchy – works
great on drums.
Here, you have your choice of recording to analog or digital. My
preference is analog. Prairie Sun is state-of-the-art in that department
as well with Studer 827, A80 24 track recorders and the classic
Ampex 2 track to mix down to. Nowadays the recordings I work on
are often a hybrid of analog and digital marrying the sound of analog
with the editing capabilities and technical advantages of digital.
Here you’ll find the most up to date version of Pro Tools HD,
the digital audio work station that has become the industry standard.
The mix room, Studio A, has my console of choice for mixing pop
and rock music, the SSL G series several channels of which have
the E series EQ. There is a number of vintage Neve channel strips
included in the well-equipped outboard racks that also include a
Lexicon 480, Eventide 4000, Publison Infernal, AMS, Plate Reverbs
and other goodies. The monitoring is totally accurate even when
cranked up loud on the big speakers. I have found that my mixes
translate extremely well to the real world.
Some projects, usually more acoustic in nature, work better when
mixed on the Neve in Studio B. A flying faders system provides automation
and a Neve 33609 is available for stereo bus compression. This compressor
is the most transparent one that I have ever worked with. Some of
my best-received albums were mixed here including the Grammy award
winning “Mule Variations” by Tom Waits and the Waits produced
“Wicked Grin” by blues maestro John Hammond.
Sound wise, the best thing about Prairie Sun is the acoustics of
it’s two Live Chambers which comprise Studio C, but through
tie lines are also available for use in Studio A or B. The smaller
one, called “The Waits Room” as it initially was an old
storage room Tom Waits suggested using to record in, is about the
most ideal small to mid sized room sound that you’re ever going
to hear. A stone floor, wood panels, and high ceiling give it this
distinct sound that no digital processor can come close to emulating.
The larger room known as the “Corn Room” has that large
cavernous sound that works well for creating John Bonham type drum
sounds or anything else that calls for a large ambient space. These
two room sounds are very unique; you won’t get this sound anywhere
else.
There is a good selection of instruments and amplifiers to choose
from. A large selection of acoustic and electric guitars as well
as Fender and Marshall amps, a Hammond B3 organ with Leslie, an
Alesis drum machine and some synthesizers.
Prairie Sun has a special, almost indescribably magical atmosphere
to it that is one of my prime reasons for working there. The clean
air and rural environment seems more conducive to creative inspiration
and allows more focused attention upon music. I’m especially
fond of studios with on site living facilities and there are comfortable,
clean, accommodations here. In the morning it’s a short walk
to work, no commute through traffic.
Also, contributing to the atmosphere is
a great staff headed by studio co-owner/founder Mooka Rennick. Rennick
is a rare breed of studio owner in that he is actually a hands-on
user of his own facility. He is a talented musician, producer, and
engineer with audiophile knowledge of the equipment that he purchases
and responsibly maintains. For instance, he recently
upgraded converters
to Lavry Blue
A/D-D/A's used in mix down, significantly upgrading the sonic fidelity
over the standard built-in converters. He also recently upgraded
the word clock source for the Pro Tools systems to the '"Lavry Blue"
Conversion System' Clock. The rest of the staff is very friendly,
knowledgeable, and helpful. There is a strong sense of community
at Prairie Sun with the feeling that we're all on the same team
working to make the best recordings possible."
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