Computers: Mac Dual 2.3GHz PowerPC G5 with 20" Dual Cinema Display, PowerBook 15-inch 1.5GHz PowerPC G4, PowerBook 17-inch 1.33GHz PowerPC G4
Software: Ableton Live 2, Finale 2003, Logic 7.2, MasterWriter, MOTU Digital Performer 5.0, Pro Tools 7.1, Reason 2.5
Audio Interface: Digidesign 192 I/O, MOTU 828
MIDI Interface: Digidesign MIDI I/O, Emagic Unitor8 and MT4
Monitors: KRK V88, M-Audio BX5, Yamaha NS-10M
Recorders: Pioneer PDR-D5, Sony PCM-R500 DAT, TASCAM DV-RA1000
Mic Pres: Avalon AD 2022, Digi PRE, Universal Audio 610B
Mics: AKG C 2000B, D112, SE-300B, Blue Blueberry, Kiwi, Earth Works QTC1MP, Neumann U87 Ai, 184 matched pair, Røde NT-2, Royer R-122, Shure SM-57, SM-58
Outboard: Antares Microphone Modeler AMM-1, AutoTune ATR-1a, Apogee Big Ben, Behringer UltraPatch Pro, CM Labs Sixty Four Patch Bay, Dangerous Music 2-Bus Summing Box, DigiTech RP100, Focusrite Red-2 EQ, Line 6 PODxt Pro, Monster PRO-2500, PRO-3500, Rosetta 200 (AD/DA) converter, TC Electronic D-Two, M-3000, Universal Audio 6176, LA-2A
Plug-ins: Antares Auto-Tune 4, Spectrasonics Stylus, Atmosphere, Yellow Tools Culture, Synthogy Ivory, Arturia ARP 2600V, Digidesign Reverb One, Focusrite d2/d3, Line 6 Amp Farm, Native Instruments Komplete 3, Sound Toys UltraFX Bundle, Universal Audio Compressor Bundle, Waves Platinum Bundle (TDM)
There once was a time when creating music barefoot was a patented jam band-specific endeavor. But nowadays with the emergence of Boston’s own Studio LSE, one of New England’s more prolific hobbyist-spaces-turned-real-deal studios, it appears this hippie-esque ethos has been applied to a greater demographic: namely, any artist who walks through the front door, only to be met with a smiling, yet strict “no shoes” policy. The department of health may have originally been made a bit nervous, but Jaw Maran, former Berklee student, internationally recognized musician, and LSE Intl. founder, allays our fears: “We like to keep the studio clean — which keeps your head clean, too — then ideas just flow uncontrollably. We want to create an atmosphere where musicians can comfortably come together, share ideas, and network. We are more than a studio — we are an entertainment community.”
And how: Studio LSE is one of four divisions of Living Sound Entertainment, Intl., which also includes production, publishing, and record label branches. Sometimes it seems LSE Intl. is clearly planning a horizontal takeover of the entertainment industry, and their A and B rooms are clearly capable of such an undertaking — with Studio A’s live room being large enough to house a small orchestra (which it has), and the key players being adept in the arts of post-production, mobile recording, and mastering at up to 192kHz at 24 bit into a variety of formats from CD to DVD. And with a queue of Grammy-winning producers and songwriters at their immediate disposal, it’s no wonder that Studio LSE is quickly becoming one of the most sought-out facilities for rising musicians.
Yet they aren’t looking just to turn a quick profit by running a recording studio; quite the contrary, actually. As Maran explains, “Studio LSE and LSE Intl. aren’t like other studios and labels. We are only interested in projects that are worth listening to — when a musician has real talent, we do our damnedest to make sure the world hears.”
And thank you, kind sirs, for that.