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Recording artists from Dave Grohl and Phoenix to your local indie band seek That Elusive Quality promised by magic rooms and pre-loved gear. Dave Grohl made a lot of noise recently with his documentary, Sound City, which was ostensibly about his acquisition of the soundboard from Sound City Studios, the unlikely music factory that churned out countless classic albums including Nevermind, the river-bending, career-making record that rocketed his old band, Nirvana, to platinum status. After the studio went out of business in 2011, thanks in no small part to the availability of cheap digital recording software, the building and its contents went up for sale.
Having said that, Vanderslice admits he’s not above acting on tips from respected peers.
Home may be where the heart is, but many of today’s music makers continue to romanticize the golden era of the big recording studios.
So whether you believe in ghosts or not, Vanderslice offers a cautionary note to any bands thinking of breaking the bank to chase down a haunted console.
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Replete with shag carpeting on the walls better suited to the interior of a stoner’s van, the studio itself was a grimy space in a warehouse district deep within the San Fernando Valley. Grohl set out to acquire the studio’s coveted Neve 8028 analog console, custom-built by the legendary Rupert Neve himself, and move it into his own Studio 606.
A widely read New Yorker story by Nick Paumgarten recounted a weird bidding war after which the band took possession of the board for around $17,000, substantially less than the original million-dollar asking price, and set about using it to record their just-released album, Bankrupt.
He says that even at a fraction of the price, Phoenix paid too much for the Harrison console.
Clapp’s Mystery Lawn studio, however, is an Eichler Home, a Mad Men-era California modern bungalow with a low-sloping A-frame roof and a starkly geometric floor plan. Finding those rooms without padlocks on their doors is becoming increasingly rare, which only increases their mystique.
And yet, as Grohl notes, those walls leading into the building were also lined with platinum discs by other game changers, such as Fleetwood Mac, Neil Young, and Tom Petty, and such diverse clients as Rick Springfield and Rage Against The Machine. After inviting heavy friends like Paul McCartney, Josh Homme, and other Sound City alumni over to 606 to write and record original material together using the magic Neve board, Grohl explores questions of magic and human alchemy.

When I was a young guitarist in Toronto, one of my first experiences in a professional recording studio found me plugged into the original Neve board used by local heroes Rush to record their first two albums. He says that even his own independent studio, Tiny Telephone, regularly fields inquires from indie bands who only want to record there so they can say they worked in the studio where Spoon, Deerhoof, Death Cab For Cutie, Okkervil River, and The Magnetic Fields rolled tape.
This little factoid not only made for great band conversation over at Tim Horton’s donuts, it made me feel as though I was touching the faders of glory. Vanderslice, who recently recorded his new album, Dagger Beach, at Tiny Telephone, says that younger bands, in particular, often get fooled into thinking that by using a famous piece of gear or recording at a famous studio, they’ll tap into the greatness of those who came before. He says he’s turned away some clients, urging them to think more about their priorities.
He also raised questions about the digital age and the lack of necessity for learning your craft.

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