Hey folks - I'm Carl. I'm a producer/engineer from Berkeley CA. My studio is an in-home one, but it's got a fair amount of potential I'm currently looking to explore with talented musicians. Although I'm partial to rock and electronic music, I enjoy learning how to exploit all sounds reaching for the best presentation I can.

In general, I'm looking to work with any artist I can, given that my studio can fit the needs of their project. That said, my studio can take on most things with the exception of drum recording (it's not the I/O - I just don't have a good way to create an acoustic space for a whole kit). I do have materials to build small dry spaces, things I'm setup to record:
* vocals
* acoustic guitars (stereo or mono)
* Any standard electric instrument (guitar, bass, synth)

I can track 12 channels of I/O too, which means I can also track your complex electronic setup.

There are limitations, particularly in microphones. But we can always try to borrow/rent something for a project if the mic we want isn't on my list.

I also enjoy (and want to practice) mixing. And finally, I play bass and some piano, and am practiced enough at programming midi (including choirs and strings).

My credits include

AllMusic verified credits for Vt100:

  • Vt100

Gear highlights

  • UAD Apollo
  • Audient ASP880
  • Nuemann 310a

Genres I specialize in

Terms of Service

Basically we do it until it's done, but there's a limit to how many hours I'll do. A mix gets 8, most other tasks can have two. For compositional - 4 hours.

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Interview with Studio Laminar

Analog or digital and why?
Analog, if I could afford it. But I can't, so digital.
Which artist would you like to work with and why?
Bonobo, cause, he's the best.
Can you share one music production tip?
Have an artist prepare a playlist of music they like. Talk to them about that list. Then A/B your mixes of their music to their list. Seriously.
What type of music do you usually work on?
I write electronic music and also play bass in metal bands. Lately I've been recording singer-songwriter.
What's your strongest skill?
I think I'm pretty good at editing. And maybe will power. And keeping the vibe chill.
What do you bring to a song?
I'll always tell you what I think. But i'll also let you make terrible decisions. At least, to a point. There's a point where it's not putting my name on your work.
What's your typical work process?
Generally I like to treat all music writing as what I consider a 'traditional recording process'. 1.) write your song 2.) Really, write your song. Know what you're going to do before you get here. 3.) Setup 4.) Instrument recording (drums, then bass, then leads) 5.) Vocal recording 6.) Edit (and light mixing/mix setup) 7.) Mix, mix, mix (I have a process to this too, but you know, for another time) 8.) Final Mix - (sit on it for a couple weeks, listen back a lot of places) 9.) Mastering (send it to someone else)
Tell us about your studio setup.
In-house studio in treated and odd-shaped bedroom. Work is done on a 5k iMac, backed by a UAD Apollo. Coupled with the Apollo is an Audient ASP 880 rack of pre-amp. In total I have 12 channels of I/O, all of which is accessible via a patchbay. Using some extra acoustic panels, I create a recording booth by stacking them. The booth is fully encapsulated and gives a pretty dry signal, allowing for a lot of options in the mix later. Mostly I use this to track vocalists, but I only have a couple of microphones, which fit pretty specific vocalist scenarios. I've also configured the 'booth' to be more open to allow me to record acoustic guitars using various stereo micing techniques. Between the devices, there are a fair number of pre-amp possibilities. The Apollo has a special plugin architecture for the preamp that allows it to model hardware characteristics, in hardware, such as impedance. Generally I lean on a Neve preamp plugin as I like it's warmth (closer to tubes, but not quite). The Audient is fairly configurable, but somewhat brighter in it's tone. I find I prefer it for direct synthesizer recording. I think guitars fall more in the middle. The monitors are Nuemann 310A's. They're incredible. Due to limitations in the room, there's still some tricky stuff to hear in the lower frequencies, but it's doable. Instrument-wise: bass and electric guitar, acoustic guitar, nord lead 2x, korg ms2000b, juno6, elektron rytm Session musicians: i know people - particularly for guitars and vocals, we can work something out