In late 2009 and into 2010 I had the opportunity to record at the Fidelitorium with Mitch Easter with my band American Gun, and with my friend Paul’s band faster stereo. I also was able to go up for a couple of other sessions Paul was producing just to be a fly on the wall. Each time was a pleasure and Mitch was nothing but accomodating, friendly, fun and just a likeable guy. While he’s not taking on new projects these days, he’s recorded some of the greats and his resume is spectacular. I recently checked in to see how he’s doing and he graciously agreed to be our guest for this month’s Studio Spotlight.
Location: Eastern Forysth Co., NC. The studio is a purpose-built building, the 1st from-the-ground-up Wes Lachot design.
Notable Artists: Lots, and they’re all notable! An early session in this building was for Alejandro Escovedo (who probably doesn’t describe himself as “Americana”, but he’s often considered a major force in the scene), who made a great record here, produced by Chris Stamey. The record was A Man Under the Influence, from 2001.
How did you start the studio or what led you to start the studio?
I always wanted to do this. Ever since there was a family tape recorder, I was all about it, then I was in bands and wanted to make records. When I was in college I had the idea of buying used pro equipment and starting a basic but solid studio to record the kind of music I understood, as opposed to trying to be a general-purpose business. This model worked, partly because by the time I got the studio rolling, the punk scene had put life back into rock bands, indie labels, and self-released 7″ records. That was the scene that my place was suited for. We were cheap and cheerful, and the new bands of that era didn’t feel comfortable with the leftover disco vibe that a lot of the real studios still had around 1980, when my garage place started.
How do you go about finding new gear for the studio and what’s your favorite toy?
If you keep your eyes open for something, you’ll find it. I mostly still buy used equipment, and I hear about it from friends, spot something in a store (greatest ever: going to a music store in Winston-Salem with Gene Holder and finding two Pultec EQPs for $200 apiece), or looking around on the usual internet sites. I don’t play favorites, I love it all. And as I say- these things are not toys! They are Serious Business Equipment.
Name 1 or 2 favorite/most meaningful sessions/albums from the studio.
See above!
What’s the best/worst part of running a studio?
The best part is that recording sessions are about making people happy. That happens at the sessions and when people hear the sounds. Of course not every moment is bliss, but a lot of them are. The worst part is the unfortunate fact that it takes a lot of money to keep it going.
What was the first session done at the studio?
In this location, the 1st session was overdubs and mixing for an Orange Humble band LP, and the 1st tracking session was for Heaven’s Sake, a hard-rock band who lived just around the corner.
Is there a non-musical aspect of the studio you are proud of?
The building is comfortable and attractive, and I’m proud of the light-touch hospitality provided by my wife Tammy and me. We’ve been a “residential” studio for the past several years, so we maintain a small house for our out-of-town people. In the studio proper, I try to tweak the equipment to suit what people are actually doing, while offering some things they may not see elsewhere. It’s always an evolving setup, to strike a balance between requirements and options. Because we have a lot of old stuff, and that’s what people really want from us, there is always a repair queue, which we try to stay on top of.
How would you describe the vibe in your studio? How do you maintain it?
The vibe is quiet and unfussy, and I hope, clean. Technical maintenance is mostly done by Clairaudia, of Durham, NC, and then there are tube amp specialists, guitar techs, piano tuners, and other helpful experts that we call upon to keep things working.
Final thoughts.
I can’t believe this place is still going against the backdrop of the money draining right out of musical activities! We keep our rates as low as we possibly can, but we know the cost can be difficult for self-financed projects. Still, I think there is real musical value in going to a special place to record. And I say that as somebody who is happy to record in a bedroom. There’s an energy in a studio session, with the other people, a slightly more formal situation, etc., that just works. Tammy and I have a deep appreciation for people making music they’re proud of, and the good effects of music in the world. It’s a good feeling to contribute to this noble activity however we can.
About the author: Producer, Engineer, Musician and all around music enthusiast.