Room w-a VU: December 2008

STUDIO NAME: Inner Machine StudiosLOCATION: Buffalo, NYCONTACT:
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STUDIO NAME: Inner Machine StudiosLOCATION: Buffalo, NYCONTACT:

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KEY CREW: John Rzeznik, Robby Takac (owners); Mike Brylinski (studio manager)
CONSOLES: API Legacy Plus 48-Channel Inline w/Uptown Moving Fader Automation; Digidesign Control 24; Neve BCM10 10-Channel, 8-Channel Broadcast w/ 34128 Modules (8)
CONVERTERS: Crane Song HEDD 192 A/D and D/A (2)
DAW: Digidesign Pro Tools|HD3 Accel, v.7.4
TAPE MACHINE: ATR 102 1/2-inch
SYNC: Apogee Big Ben; Rosendahl Nanosync 192k
MONITORING: Genelec 1030a, 1032As; George Auspurger Mains (custom); Furman HDS6 w/remote stations; KRK E8s; Yamaha NS10s w/ TST-SW150 subwoofer
MICS: AEA R44 (3), R84 (2), R88, R92; AKG 414 (4), 451, D112, D12E; Audio-Technica 3032 (2); Audix i5 (2); Beyerdynamic M160 (2); BLUE Bottle, Dragonfly, Kiwi; Coles 4038 (3); Crown PZM (3); Electro-Voice RE-20 (2); Josephson C42 (6), E22s (6); Neumann KM53 (2), KM56, KM184 (4), M147 (3), M149 (2), TLM103ni, U87 (6), USM69; Sennheiser 421 (2), 441 (2) mkh20 P48 (2), mkh40 P48 (2); Shure SM7 (2), SM57 (5), SM58 (3); Soundelux 251; Telefunken 251, 250, 270, D19 B200, M12 (2), M16 (2), TD25 (3), U47, U67 (3)
PRES/DI: API 212L (32); Avalon U5 (2); Chandler Limited Germanium (8), TG Channels (8), TG2; Eclair Evil Twin; Groove Tubes “The Brick,” VIPre; Mercury 72 (3); Neve 1073 (10); PreSonus MP20; Universal Audio 610, 6176
DYNAMICS PROCESSORS: Alan Smart C2; Chandler Limited Zener; Collins 26ui; dbx 160A (2), 160 VU (2); Drawmer DS201 (2); Empirical Labs EL-7X FATSO, EL-8X Distressor (4); Eventide Omnipressor; Fairchild 670; Focusrite Red 3; Gates Level Devil (2); Groove Tubes Glory Comp; Inward Connections TSL-3; Inovonics 201; Malkjos Stereo Bus Compressor; Mercury M66; Neve 33609 J; Purple Audio MC77 (2); RCA BA-6A (mod) (2); Retro Instruments Sta-Level (2); Ridge Farm Boiler; Universal Audio LA2A (2), LA3 (2); UREI 1176 (2); US Army Federal Compressor (mod)
EQ: API 550L (48); Chandler Limited Tone Control (8); GML 8200; Mercury EQP1A (2); Neve 1073 (10)
EFFECTS: AMS DMX, RMX 16; dbx 120XP; Eventide H3000; Lexicon 480L w/LARC, PCM42 (2); Line 6 Echo Pro, Filter Pro, Mod Pro; TC Electronics 2290
PLUG-INS/SOFTWARE: Audio Ease Altiverb, Speakerphone; Celemony Melodyne; Eventide Anthology 2.0; Fxpansion BFD 1, 2; IK Multimedia Sampletank 2.0; Muse Receptor; Propellerhead Software Reason; Sound Toys Bundle; Spectrasonics Stylus RMX; Native Instruments Absynth; WaveMachine Labs Drumagog; Waves GTR, Mercury Bundle, SSL Bundle
NOTES: Whew! That’s a lot of gear for just one band— especially a band that started a studio as a mere “pickup project.” John Rzeznik and Robby Takac, of Goo Goo Dolls fame, initially decided to save this old TV and radio studio for reasons no greater than sentimentality. “We’d recorded at the old studio before and Robby worked here as a kid. When the actual studio went out of business, we bought it out and decided to slowly remodel it and make it part of our thing,” explains Rzeznik.

Enter John Storyk of Walters-Storyk Design Group. As the original designer of the room that preceded Inner Machine, Rzeznik says that Storyk was their first choice when it came time to select a world-class architect to re-envision the studio. Storyk explains: “John and Robby’s mandate was to create a fresh, live acoustic feel, particularly in the large tracking room. We stripped away the original finishes and treatments and replaced them with a completely new acoustic package including extensive perforated wood surfaced treatments. This raised the RT60 value of the room while still controlling low frequency decay.”

According to Rzeznik, after recording countless records in studios throughout the country, he and Takac were basically “tired of paying people tons of money to record [their] records,” and decided they should make a place where they could do it all themselves.

“Our goal was to have a place where the clock wasn’t running all the time,” said Rzeznik. “We decided that if we were going to have the space we would make it nonprofit. We’ll just keep pouring money into making it as nice as possible.”