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When I was 20 years old I met a lifelong friend, Wes West, who at 16 was already quite an engineer. His father toured the world and sold millions of albums and happened to be someone who's records I bought when I was a kid. We had the run of a killer studio and we made terrible records and loved every second of it! I learned to "tapeop" and cut tape and to engineer and I was hooked for good. I wanted to do THAT. I'd say that while learning what mic to use where was important, what I really valued was learning the art of production. Getting into the mind of the artist and coaxing their best out of them.I owe Gary and Wes a lot. I love them and if you have the means, hunt Wes down, he's a monster.

I had the chance to record many years later with Big Shirt (FOH) and Clown from Slipknot. Big Shirt taught me "it isn't the hammer, it's the carpenter." And Clown taught me to go all out or go home (and that I looked an awful lot like Dimebag). I also owe them a lot.

Unfortunately I also learned how to spend a ton of money in a per-hour studio and not having time to get my tracks how I wanted them. I wanted a better way than by-the-hour. Nothing kills art more than stress.I try to alleviate it at ALLCAPS.

This isn't a state-of-the-art facility but it is a place that cares how your vision is realized.

Let's be real here. I'm not a webmaster, I'm not a salesman. I'm a nice guy and I try hard. I've worked with some amazing people and I think most of them would say they'd work with me again. Thanks for your consideration.




1991 Studio West, a studio geek is born!

My Tracking room today

My control room

With Clown #6 circa 2004 at Blacklodge

I have a Studer A810

It sounds wonderful, but I bet you don't want to buy tape. Do you? *Sigh* That'd be cool.



Looking for Neve desk?

Me too! I have a Soundtracs Topaz and a Mackie 32.8





No way I got time for this

Seriously, I have a lot. If I had a Neumann I'd tell you. If you want one we'll rent one.



I have many studio staples from Shure, Sony, Audio Technica, Crown, Audix, Oktava, Rode and a lot more. I'm not typing all that shit.
I've got some tasty stuff from Ashley, Aphex, ADA, Furman, Alesis, DBX,TC Electronic and Alesis.

I got a headphone amp from Behringer (don't tell anyone).


I have Ross Robinson's Pentron Tube mixer from Indigo ranch, Yes THE one. If you dug the vocal sound from Slipknot, Machine Head, Korn or Limp Bizkit on Robinson's productions, well hey, lucky you.


I also have a MOTU 1224 from Trisha Yearwood's home studio. I know it doesn't matter, but still, pretty dang cool.



Yamaha NS-10's

That's what I said. Truly the most important thing in the studio. Yes they sound terrible.

Realistic Minimus 7

What "Nevermind" wasn't a good album?


Mackie huge something or other

These are for pissing people off 4 blocks away


I use Cubase 6.5

I started on an MCI 2" tape machine and it's been all downhill from there. My personal journey has been tape>Nuendo 2>Cubase SX3>Pro Tools M-Powered (kill me)>Cubase 6.5


Seriously it's all ones and zeros, use what you like.


Yes I can open your Protools files

I can even work in PT if you make me but I don't wanna.

This is where I jump ahead of the crowd

Check my "Backline" page. If it made a ton of great records I probably have it.



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