Mixing It Up

Few people would describe the Linder Avenue Recording Web site as “striking.” The design is skeletal, white text on a black background, and the information minimal, a list of services, an e-mail address but little else.

To be fair to owner Dom Palmisano, his Roselle space has only been open as a commercial studio (it was a project studio for roughly seven years prior) for six months now, so its cyber home is still a work in progress. Give Palmisano credit, though, for at least making sure Linder’s prized centerpiece, a Solid State Logic 4056 E/G console, is represented front and center at the top of the page.

“In order to sound like a pro you have to record and mix on a pro console,” Palmisano says matter-of-factly.

It’s no secret SSL is one of, if not the, most desirable console brands in recording, and the 4000 series is the company’s bread and butter (SSL claims 4000s have been behind more platinum records than all other consoles combined!).

Palmisano bought his from a North Carolina studio going out of business. “One studio’s loss was my gain,” he says. “I had been looking for an SSL for quite a long time because when I recorded on an SSL I loved it,” he says, referring to his days as a drummer. “So when I was the musician recording on an SSL I thought it sounded phenomenal, and I wanted that for myself to use and for my clients. There’s a punch to this board that is . . . it’s hard to capture from anything other than two name brands in the industry and that’s SSL or Neve. An SSL is used by some of the greatest mixers, at least in the rock world, like Andy Wallace, who I aspire to, and Chris Lorde-Alge, and some of these guys who are the best mixers around today.”

The SSL is an undeniable selling point for Linder Avenue Recording, but, Palmisano stresses, the gear in his recording chain is chosen for performance, not for marketing glitz. “Every piece of gear in the studio is carefully evaluated and hand-picked,” Palmisano says. “Cost is not even really considered; it’s all about the sound benefits.”

Like many engineers, Palmisano got his start in the business by recording his own bands on a four-track. About 10 years ago he decided to switch, full-time, sides of the glass.

“I have been in the music business for about 30 years now,” Palmisano says, “and I have progressed through the years all the way up to the commercial place, which is the studio today. The studio was built by a musician and caters to musicians.

“Linder Avenue is set up to be a comfortable, relaxed, warm feeling environment. I want artists to get the most relaxed, creative performance possible. I try to make them feel comfortable, and I let them know I was in their shoes and I know exactly how they’re feeling. I will offer to do anything I can to make them comfortable and relaxed so they can lay down the best performance possible.”

And when it comes to recording philosophy, Palmisano considers himself an old-school-kind-of-guy, with a catch.

“I’m not into editing until perfection, but I’m also flexible enough to give the client what they want,” he explains. “I think one of my best attributes is listening to people and not trying to tell them what to do but instead working to make them feel comfortable and let them know I’m going to do the best I can and give them 110 percent. That’s my style.”

One thing Palmisano continuously stresses is his eagerness to form a partnership with the acts who book time at Linder Avenue Recording. He insists he doesn’t look at a client as “just another customer” just like he doesn’t want clients viewing Linder Avenue as “just another place to record.”

Palmisano knows the myriad options musicians have when it comes to choosing a recording studio in the Chicagoland area. He also knows some would question his decision to open a brand new commercial studio in a recording industry said to be spiraling downward. Call him an optimist, but Palmisano still sees plenty of hope for recording studios, especially ones like his.

“Many artists are starting to realize there is a great affordable option between the $300-per-hour studio with a jacuzzi and your drummer’s basement,” he says, laughing. “Linder Avenue puts out a quality finished product at a reasonable rate, and the way I look at it is not only do you get the studio, what you get from working with me is a real partnership. It’s common for me to go to client’s home studio and offer them recording tips so they can create a better-sounding demo. I’m also generally involved in the artists’ pre-production, so before they even step foot in my studio I’m going to their practices talking about what our recording game plan is going to be.

“I absolutely still see hope,” he exclaims, referring to the state of professional recording. “I will go back to the point there there is a great affordable option. Has the home recording capability improved to where they are not booking as much studio time? The answer is definitely yes. But rather than view that as a threat I view that as an opportunity.”

If you believe Palmisano’s reasoning, it’s simple: A recording studio, like a triangle, has three points, and as long as you have all three, you can be successful.

“A studio is so much more than a place,” he says. “There [are] three components and they’re all equal. The components are rooms that you are recording in, gear that you’re using, and the engineer and producer who is working it. Those are equally important when you’re evaluating a studio and I’ve come to recognize that and I’m putting forward a product that understands that.

“I can’t comment on other studios, but I’m absolutely positive that Linder Avenue Recording has all three.”

Linder Avenue Recording is located in Roselle. For more information call (630) 351-0049 or e-mail info@linderaverecording.com.

At ENERGY COMMAND STUDIOS in Arlington Heights, The Ginge recorded a live demo. The project was engineered and mixed Amery “Amo” Schmeisser . . . Big news for Energy Command Studios regular Manny Capozzi: His single, “Shove,” has been getting regular radio airplay on one of Italy’s largest FM rock radio stations, Radio Rock Italy. Capozzi’s second EP, Tag, was produced by Energy Command owner Dave Banks . . . Such A Voice, a voice-over production company from Vermont, has been making regular stops at Energy Command to record voice-over sessions with local talent. Producer John Billingsley heading up the sessions; Don Carlsson engineered the most recent session . . . Silk Strings recorded a six-song demo. The six-member group consists of violins, violas, cello, stand-up bass, and keyboards . . . Hip-hop producer Daniel Wolf refined some of his latest offerings . . . A Better Place To Be began recording vocals for their five-song CD . . . Hip-hop artist Eighty recorded two tracks . . . A belated congratulations from IE to Banks, who was married October 28th, 2006 to Sara Lyford, a Rockford-area native.

At Gravity Studios in Chicago, Welcome To Cambridge recorded, mixed, and mastered their new EP with Doug McBride . . . 38 Acres recorded new tracks with Mark Berlin . . . The Silents mixed some songs with McBride . . . Endity completed a new EP; Aidas Narbutaitis engineered and mixed and McBride mastered . . . Lonno Arampa worked on new songs with George Balogi . . . Winner Takes All recorded and mixed with Narbutaitis; McBride mastered.

Hey Studiophiler: To get your studio or band listed in “Studiophile,” just e-mail info on whom you’re recording or who’s recording you to ieeditors@aol.com, subject Studiophile, or fax (312) 930-9341. We reserve the right to edit or omit submissions for space. Deadline for the March issue is February 10th.

– By Trevor Fisher

Category: Columns, Monthly, Studiophile