We are an all service audio company, recording, production, mastering, restoration and mixing.
Vigilante Studio is based in leafy Buckinghamshire, UK, close to M25 and M40, and offer a range of audio production services. We are an authorised Mastered for iTunes mastering house, and operate an online service as well as in house. In addition to the studio, we also have a mobile setup, allowing us to come to you, to record whatever you need, from live concerts to demos in your rehearsal rooms (or your front room if you want!)
We operate a full protools setup utilising waves, izotope, and T Racks plug ins, and can also offer an audio restoration service, from a multitude of sources (digital, DAT, Vinyl, Cassette). We offer full production, mixing, mastering and post production, and can even offer Live front of house and tour management for the right act - The engineer/producer is Rupert Withers, with years of experience under his belt.
We offer these services for very reasonable prices.
I'd love to hear about your project. Click the 'Contact' button above to get in touch.
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Interview with Vigilante Studio
Q: Describe the most common type of work you do for your clients.
A: I'm lucky to have a diverse range of clients, so one day I may be mastering , the next, producing a full on rock anthem, followed by recording and editing a stand up comedy act.
Q: What other musicians or music production professionals inspire you?
A: I have been lucky enough to work with some great people and am always learning from them all … Simon Hanhart (producer) gave me some great tips when starting out, and I'm always learning from fellow live engineers when on tour, tips that I can then translate and adapt to both live and studio work.
Q: Tell us about your studio setup.
A: I don't have a separate drum or vocal room, as the studio is a converted room, but I do have a full electronic drum kit with mesh heads that I have been told feels very like an acoustic kit. I use Rode microphones, with ART preamps, Tascam interfaces (I am endorsed by Tascam for their interfaces), with digi desks, and protools 11. The plug ins I use are all up to date Waves, Izotope, T Racks etc. If I record live drums, I prefer the sound of Shure drum mics rather than studio miss as I like the live, edgier sound rather than the sterile clean sound of a studio mic. I have 28 track recording capability in the studio and I also have a mobile setup which enables me to record outside of the studio, either recording at different premises (for example if I want 'real' drums, or if Im recording in a bands rehearsal rooms) or if I'm recording a live concert.
Q: What's your typical work process?
A: I try and make the clients as relaxed as possible to bring out the best performance. Every job is different, especially as I'm not doing the same thing all the time, so its impossible to give a typical process
Q: What do you bring to a song?
A: Hopefully a bit of life, energy and help make the best of its potential!
Q: What's your strongest skill?
A: Either the ability to put the performer at ease … or possibly getting a great drum sound!
Q: What type of music do you usually work on?
A: usually Rock music, but I have worked on most genres … working on rock I believe, can aid other genres as well, as there are different dynamics to the drums, the guitars, and these can add things to other genres that may not have been thought of … and sometimes even work!
Q: Can you share one music production tip?
A: Don't be scared to experiment … and don't believe everything you read in books!
Q: Which artist would you like to work with and why?
A: I would love to work with Nightwish, as I believe they bring a whole new dynamic to heavy rock and were the forerunners of symphonic rock. I would have loved to have worked with Motley Crue, and even though this next one will surely result in a lot of derision … Poison!
Q: How would you describe your style?
Q: What was your career path? How long have you been doing this?
A: Ive been in the industry for over 25 years … but mostly on the label side. I spent a long time as a freelance label manager, and radio plugger, doing the sound work as a sideline. I was predominantly a front of house engineer, working with acts like Vixen, White Lion, statetrooper etc, and started mixing studio music as a hobby … the first band I ever mixed was TNT, but the first 'proper' full release was probably Vixen's live in Sweden. I decided to concentrate on the studio a couple of years ago, and so the label side took a bit of a back seat, whilst I developed the studio (I still offer freelance label services, and have maintained the full international distribution network)
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Water filtration device, bow and arrow, tent, matches, sat phone …. you didn't specify it had to be music gear!
Q: What advice do you have for a customer looking to hire a provider like you?
A: Talk to the person you want to hire … make sure that you are on the same wavelength, and if needle, listen to some previous mixes … producers/engineers all have a certain style, so make sure that its suitable for you.
Q: What questions do you ask prospective clients?
A: what do you expect to come away with? Whats your budget? (!) Are you ready to do it?
Q: What's the biggest misconception about what you do?
A: That a perfect recording can be done quickly
Q: What do you like most about your job?
Q: What's your 'promise' to your clients?
A: That I will do my best to make it sound like something they are happy with.
Q: Analog or digital and why?
A: digital to be honest, as its an easy work flow, and a lot of the traditional analogue sounds can now be replicated fairly accurately
Q: What are you working on at the moment?
A: I'm working on a great album from a new band "Into The Unknown"
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Vixen Live in Sweden, as it was one of the first, and I was asked to do it after another 'name' producer had done it and the band felt it didn't have enough energy. I was actually front of house when it was recorded, and I am credited as mixing it and co producer.