STUDIO NAME: Louder
LOCATION: San Francisco, CA
KEY CREW: Tim Green, Phil Manley
CONSOLE: Modified Trident 65
RECORDERS: Modified 1976 MCI JH-16 2” 24/16-track, Modified Ampex 440-B 1/2” 2-track, Otari mx5050 8-track, Teac 3340s 1/4” 4-track
MONITORS: Yamaha NS-10s, KRK 9000B, Alesis Monitor One, Boombox.
EFFECTS: 2 dbx 120 subharmonic, Little Labs IBP phase alignment tool, Roland SRE-555 tape delay/chorus/reverb, Alesis DM Pro drum brain, Yamaha SPX-90, Lexicon PCM 80, PCM 60, Alesis DM Pro Drum Trigger, Effectron ADM 1024, Roland SDE 1000, Orban de-esser, Furman Spring reverb, Roland MS1 sampler, MXR flanger/doubler, Electrix vocoder, Ibanez UE400 analog multi-effect, Ibanez Tube Screamer, Electro-Harmonix Small Stone phaser, Frequency Analyzer, Hog’s Foot, Soul Preacher, DOD 555 distortion, Octoplus, Envelope Filter, Boss flanger, sampler, Satan Level Doubler, Tube Works Tube Distortion, Morley Fuzz/Wah, Holmes EQ.
OUTBOARD: Urei 1176LN , LA-4 , Skibbe Red Stripe 5-9c , LA-22 stereo , Amek 9098 stereo, Manley variable-mu stereo, dbx 166 stereo, Alesis 3630 stereo, Neumann W495b , Filtek MK 3 , Neumann PEV EQ , Aphex 105 , Apogee PSX 100
MICROPHONE PREAMPS: Universal Audio 2-610 dual mic pre/EQ, TL Audio tube preamp/EQ , Helios 5349 mic pre , Siemens V276 preamp , Urei 1108 mic preamp 
MICROPHONES: Klaus Heyne modified Neumann U67, Klaus Heyne modified Neumann U87, Neumann M147, Schoeps 221b , Coles 4038 ribbon , AKG 414 , Neumann KM184 , AT 4033 , Shure SM841 , Sennheiser 421 , Shure SM57 , Shure SM58 , AKG d112, EV RE-20, Beyer m500, AT atm 25, AT pro 25, EV n/d 408, some old Sony mics, and assorted shitty-sounding mics
COMPUTERS: 3.2GHz Intel Pentium 4
BAND ACTION: The short list… The Melvins, Sebadoh, The Donnas, Sleater Kinney, Bratmobile, Bikini Kill, Amber Asylum, Yaphet Kotto, David Yow, Hank Williams III
STUDIO NOTES: LOUDER. Completely and totally mindful that this is Abbott & Costello territory, you ask where you going? And they say LOUDER. You scream the question again and they answer, again, LOUDER. Yeah. Repeat until the crooked hook drags you off stage. But the where in this instance IS Louder. Louder Studios. And on the San Francisco street where it sits, corner lot style, we’re going to meet a Mr. Tim Green who, if he had done nothing BUT, would be aces in our book for Nation of Ulysses, the DC agitprop-fingerprint-filing off rock formalists. Which at this remove has all but been overshadowed by his newest and latest, The Fucking Champs, reigning title-holders for that super-compressed AM radio thing that sounded bitchin’ blaring out of your 1976 Trans Am’s 8-track.
“But we’re not compression freaks,” a mid-session Green notes, sounding for all the world like he’s had to say this well more than once. “I mean we stole Cerwin-Vega’s ‘70s ad campaign that said ‘Loud is beautiful, if it’s a Cerwin-Vega’ and ended up with ‘Loud is beautiful if it’s Louder.’ But what we really are, are ‘60’s mix freaks. You know, where stuff is just jumping out of the mix at you? That comes closest as anything to describing what we like to hear. But we don’t get people in here because they want that ‘Champs’ sound necessarily. I mean that’s not the only thing.”
Probably not. Because through 15 years, seven of them in San Francisco, Green has managed to go bleeding edge through some of the most mightily adventurous production possible in a room like his. To whit, The Melvins’ troika of Maggot, Bootlicker, and Crybaby (Ipecac), as well as their Colossus of Destiny, “a very challenging record,” chuckles Green. “It was like one hour of noise out of which they wanted me to edit out the one section in the middle that sounded remotely songlike. When they played it live…people were trying to fight them.”
Turning back to Turn Me On Deadman, a band that “sounds nothing like The Melvins. OR The Fucking Champs,” Green emphatically, or as emphatically as the laid back Green ever gets, adds, “And here’s something else we DON’T do: we won’t hijack your record.”