Day 01
Set up and reference
You bring two or three references and we listen to them in the room, loud, before touching anything. Half the arguments later in a session turn out to be disagreements about a reference nobody agreed on at the start.
Capture it clean.
Decide the rest
later.
A treated room with an isolation window, nearfield monitoring, and a signal path built so that almost nothing is committed on the day. Tone, amp and space stay editable at the mix, which means a good take never dies for a decision somebody made at two in the morning.
What the room does.
01
Tracking
Guitars, bass, keys, programming, vocals. Guitars run direct into the Fractal Axe-Fx III, so the dry performance is kept alongside whatever tone you monitored through. Vocals go to the treated corner behind the isolation window.
02
Editing and comping
Take selection, timing and tuning, with a light hand. We will tell you when a part is being edited into something the band cannot play live — that is usually the moment a record starts sounding like a grid rather than a group.
03
Mixing
Mixed on nearfields in a treated room and checked on a phone speaker, because that is where most of your listeners will meet it first. Revisions arrive in numbered rounds with notes collected in one pass, not dripped in over a fortnight.
04
Re-amping and tone rework
Because the dry signal is kept, an amp, cabinet or drive decision can be revisited weeks later without the guitarist coming back. It is the most useful thing about how this room is wired and it costs nothing extra.
05
Delivery
Masters to platform spec, stems on request, correct metadata and credits, artwork sized for each service that insists on something different. One package, not five emails.
Four days, in the order that wastes the least of them.
Day 02
Beds and structure
Rhythm parts, scratch vocal, and a full pass end to end however rough. Having a complete version of the whole song by the end of day two changes every decision that comes after it.
Day 03
Overdubs and vocals
Lead lines, texture, harmonies, the real vocal. Vocals go late on purpose — by day three the singer has heard the arrangement enough to phrase against it instead of over it.
Day 04
Rough mix and hand-off
You leave with a rough mix the same day. Notes come back in one collected pass, then it goes into proper mixing. Nobody waits a week to hear what they made.
What is actually in the room.
Quoted per project, not per hour.
Hourly rates reward slow work. We quote a song or an EP as a whole, after hearing it. Tell us what exists, how many songs and when you need it, and you get a number and a list of what it covers.
If a project is not right for this room, we will say so instead of taking the booking.