Shokan, NY (May 19, 2005)–Allaire Studios, a world-class mountaintop recording facility, has been a draw to a variety of prolific artists and producers following the studio’s opening in 2001. Most recently, Allaire’s rooms have been firing on all cylinders and the studio continues to gain momentum. After a recent visit in April, producer David Kahne brought The Strokes to Allaire, who are currently working on an upcoming RCA release.
The Strokes had been recording in their own rehearsal/recording space in NYC, but Kahne brought them to Allaire to lend some diversity to their guitar sounds. Allaire, which maintains an extensive instrument collection, owns about 50 vintage guitar amps (all meticulously maintained by chief technical engineer, Ken McKim) and over 150 guitars. Kahne also wanted to take advantage of the Great Hall’s natural acoustics and the George Augspurger/John Storyk designed control room to precisely evaluate what the group had recorded in NYC.
The engineer on the Strokes project is LA-based engineer Rob Brill, assisted by Allaire’s own Matthew Cullen. The project was recorded on a variety of formats including Steinberg’s Nuendo, Apple’s Logic HD and Digidesign Pro Tools HD.
Universal Music quartet, The Working Title, recorded a major label debut in April in the Neve Room with producer/engineer Brad Wood and producer David Bryson, who is also a member of the Counting Crows. Also lending his engineering skills to the project was Allaire’s Damien Shannon.
Meanwhile, Warner Brothers trio The Secret Machines chose Allaire for their second Warner Brothers album, with Allaire alumnus Brandon Mason engineering the project in the Neve Room. The band recorded basics on 2″ 16 track analog utilizing one of the studios two Studer 827 Gold Edition recorders. Assisting on the project was Allaire’s Scott Serota and Kaori Kinoshita.
In March, ATO/RCA artists My Morning Jacket recorded their second album for the label in Allaire’s Great Hall with John Leckie producing/engineering. The band tracked live in the Great Hall to 2″ 16 track tape and remained in the analog domain for the duration of the recording. Engineering for the project was shared by Leckie and Allaire’s Matthew Cullen. Leckie, who has recently recorded at Allaire with Longwave as well, calls the Great Hall control room “the best I’ve ever worked in.”