Cotati, CA (March 15, 2007)–Saddle Creek band Two Gallants paid a visit to Prairie Sun to mix a new release with producer/engineer Alex Newport. This was an all-analog session–the multitrack was played back from Prairie’s Studer A-820 and the final mixes were printed to the Ampex ATR 102 1/2″ machine.
Prairie Sun’s Studio A is equipped with an 80-input SSL 4080 G/E, G+/TR mixing desk with VCA automation and Total RecallEngineer Oz Fritz returned to Prairie Sun’s Studio A to mix Wasis Diop’s latest solo album project for French label, Think Zik, and in Studio B, reggae band Rebelution spent a couple weeks tracking to 2″ tape and Pro Tools with engineer Gene Cornelius. The Rebelution album is being mixed by producer/engineer Jim Fox at his Washington, D.C.-based Lion and Fox Studios. Prairie Sun’s Studio C recently hosted The Expendables, who were in tracking with producer/engineer Chris DiBeneditto. Engineer Adam Munoz recently mixed the band Lick, and Oz Fritz was in again to mix a record for Tavana.
Other recent Studio A clients include “shred-master” Ethan Brosh, who mixed his first instrumental solo album in Studio A with staff engineer Jason D’Ottavio. The record features guest appearances by fellow shred-masters and previous Prairie Sun clients George Lynch (Dokken) and Greg Howe. Jason also recently mixed Wayward Son’s new record, which was then mastered by Tim Gennert for Eugene Productions.
Prairie Sun’s continued to outfit its new API sidecar (in Studio A) with additional modules, upping the number of 525 compressors to four. Prairie Sun’s Studio B is equipped with a Neve Custom 80 Series 26/8/24 mixing desk with Flying Faders automation (originally commissioned for Pete Townsend’s Eel Pie Studios)According to the recent Prairie Sun newsletter: “In case anyone was concerned that Studios B and C were going to miss out on the API love, we also have purchased an 11-space API 500-series rack from Dale Epperson at Old School Audio (who reconditioned the PSR sidecar), complete with a couple OSA MP-1 mic pre-amps, that will allow us to take our API EQ’s and compressors anywhere. ANd, on the recommendations of a number of engineers, we decided to try a pair of the ProAc Studio 100 loudspeakers as nearfield monitors. Our staff quickly became enamored with them, and so they are now serving duty in Studio A with my McIntosh 2500 power amp.” Prairie Sun owner/engineer Mark “Mooka” Rennick also informed that the 1960s Baldwin 9-foot concert grand piano has been restrung and reconditioned by Robert Yambert.
A couple months ago, to commemorate Martin Luther King, Jr. Day, the Oakland East Bay Symphony performed “Black Suit Blues,” a piece that recalls the day of Dr. King’s assassination. Composed by Dr. Nolan Gasser and with text by Robert Trent Jones, Jr., “Black Suit Blues’ is one of four movements from the Gasser/Jones collaboration American Festivals. Prairie Sun Recording’s sister company, Eugene Productions, was on hand to record the performance. For the recording, engineer Rennick and assistant Matt Wright brought some choice Prairie Sun gear to the Paramount Theatre in Oakland, including vintage Neumann microphones, PSR’s Korby KAT-4 mic systems, and the iZ Radar 24 digital multitrack. For the main stereo pair, however, Rennick opted to audition the Crowley and Tripp Recordist Ensemble Stereo Kit ribbon microphones, kindly provided for evaluation by Chris Regan at Crowley and Tripp. Collaborating on mic placement with the Oakland Symphony’s live recordist, Tom Johnson, Mooka was able to bring back to the studio a reference-quality multitrack recording. Rennick and D’Ottavio mixed the recording in Studio B under the guidance of composer Gasser.
Prairie Sun Recording