STUDIO NAME: Sound Logic LLC
LOCATION: Lafayette, IN
KEY CREW: Jeff Anderson, Scott Rottler
DIMENSIONS: Control Room: 18 x 20; ISO Booth: 6 x 8; Live Room: 36 x 20; Lobby: 12 x 18; Reverb Room: 6 x 18
CONSOLE: Neve 8108 w/ custom Beamish routing comp.
RECORDING FORMATS: Alesis Masterlink, Digidesign M-Box with G5 Powerbook LT, Digidesign Pro Tools Mix System 32 IO’s, Otari MTR-10, Panasonic 3500 DAT, TASCAM 112 mkII
MONITORS: Alesis Point 7, JBL Studio Series Custom, Mackie HR824, Tannoy PBM 6.5, Yamaha NS10
MICROPHONES: AKG 414 BULS, AKG 451, AKG C2000B, AT 4033, AT 4041, AT drum mic kits, Blue Ball, Neumann U47, Neumann U87i, Rode NT-2, SE Z2200, Sennheiser 421, Sennheiser 604, Sennheiser 609, Shure SM-57, Shure SM-81
COMPRESSORS/EQ: Altec 1712A Compressor, Aphex Aural Exciter Type C, Aphex Studio Dominator, dbx 160A, dbx 160 VU, dbx 180 A (Mod), dbx 266 Compressor, EL8 Distressor, Neotek Series 1 Ch. Strips Racked, Orban 516 EC De-Esser, Orban 621 B Parametric EQ, Rauland Spectrum Master, Rebis Gates, Shure Voice Master Gates, TC Electronic Finalizer, Universal Audio LA2A, Unisync Limiters, Unisync Trooper Series EQ, Urei 1176
TIME BASED EFFECTS: Alesis Quadraverbs, Brick Audio 4' by 4' Plate Reverb, Eventide 3500 DFX Sampling, Eventide H949, Fairchild 659A, Lexicon 110, Lexicon LXP-15, TC Electronics M300
COMPUTERS: Macintosh G4 Quicksilvers
STUDIO NOTES: Located in a rather inconspicuous converted barn, miles away from any stoplights or crosswalks, Soundlogic is a virtual beacon of light in what amounts to a rather dark artistic vacuum. If it weren’t for strong mutual ties to the area and a general disdain for the politics of Hollywood and Nashville shared by Sound Logic’s key players, it would be fair to assume that the proverbial shop would have been set up anywhere but Lafayette, IN. While a $2 million dollar studio seated catty-corner from a grazing pasture and the occasional heap of cow dung may not appear to be a prime locale for such a facility, upon parting the doors and stepping into the pristine live-room — only to come face to face with a Neumann U47 and the modified Brick by Brick 4' x 4' plate reverb — any myths about non-geographically specific studios being sub-par or of novel utility are quickly dismissed.
“We just jacked all of our ideas from other studios that we admired and worked in; all the places where we worked from L.A. to Nashville,” engineer Scott Rottler confesses, “and it shows.” From the architectural mimicry of the live room (designed to correlate with the opened Baby Grand piano) to the recording artifacts procured (Neumann’s labeled “property of Ric Ocasek”), it’s evident that Sound Logic is much more than a simple project studio.
“The clientele that we’ve worked with in the past pretty much covers the spectrum — from FEMA to Bela Fleck,” Jeff Anderson states. “We both grew disillusioned by the politics of working in the field — always dealing with an A&R representative standing over your shoulder and interfering with the process — so we decided to drop out and open our own studio and focus on what we love to do on our own terms: recording music.”
In addition to the above, Sound Logic also offers creative licensing packages as well as instructional workshops, so check them out if you happen to be in the area. You’ll be glad that you did.