STUDIO NAME: Talking House Studios
LOCATION: San Francisco, CA
KEY CREW: Peter Krawiec (Chief Engineer); Justin Lieberman (Engineer); Paul Ruxton (Creative Director/Producer)
CONSOLES: 80 input SSL XL 9000 K with Ultimation (A); Digidesign ICON D-Control w/32 faders (B), ICON D-Control w/16 faders (C)
RECORDERS: Ampex/MDI ATR 1" and 1/2"; Pro Tools HD3 (3) w/ 192 I/0s (14); Studer A827 (2)
MONITORING: Genelec 1038 (mains), 8050 (surround), 7070 (subs) w/Dolby Lake Processors
PRES: A Designs Reddi; Avalon M2 MKII; Focusrite Red 1 (2); GML 2 channel w/PSU; Hamptone HVTP2; Martech MSS-10; Millennia HV-3, HV-3D; Shep/Neve 31102; SSL XL Remote (24 channel)
MICS: AKG D112 (2), 414BULS (2), 414TLII; Audio-Technica 4047; B&K/DPA 4003 (2); Brauner VM1KHE; Neumann KM184, 140, M149, TLM170, U87 (2); Royer R121 (4), SF12; Sennheiser 421 (5); Shure Beta 98 (6), Beta 52 (2), KSM27 (2), KSM32 (2), KSM44 (2), SM57 (4), SM7; Sony C800G (2); Wagner U47w
COMPRESSORS: ADL 1500; dbx 165A; dbx 902 de-essers w/rack (2); Drawmer DS201b (2); Focusrite 3; Neve 33609 (2); Universal Audio 1176 (2); Urei LA-2A (2)
EQS: Focusrite Red 2; GML 8200; Tube Tech ME1A, PE1C (2)
REVERBS: AMS RMX16; EMT Plate (Martech upgraded); Lexicon 480L, 960L; Sony S777 Digital Reverb
PROCESSORS: Eventide DSP4000; Lexicon PCM42, PCM80, PCM91; TC Electronic Fireworx, M5000, TC1210; Yamaha SPX 990 (2)
KEYS/SYNTHS: Baldwin Fun Machine; Hammond B3 w/ Leslie 122; Korg DW-8000, Karma, Trinity, Triton (2), TR Racks; Muse Receptor (2); Rhodes suitcase; Roland Juno-6, JX-3P, 880 (2), 1080 (2); Signal Transport Synth Driver 2; Speck XSum; Studio Electronics SE1; Wurlitzer 200A; Yamaha CS-15, DC-7
GUITARS/BASSES: Alembic Custom; Fender Stratocaster (2), Telecaster; Gibson L5, Les Paul, 335 (2); Lowden hand-crafted nylon, hand-crafted steel; PK Custom bass; Tom Anderson Drop Top
AMPS: Ampeg SVT, V2; Fender Bassman, Deluxe; Marshall 2000, 50-watt Plexi; Peavey Classic 50, 5150; Roland JC-120; Torres Boogie-Mite; Trinity 18-watt; Vox AC30
DRUMS: Full kits from Camco, D’Amico, PK Custom, Yamaha; Paiste and Zildjian cymbals
NOTES: Disguised by a warehouse façade and hidden away incognito in San Francisco’s SoMa district, the brainchild studio of a “who’s who” producer collective of Bay Area musical movers and shakers (a.k.a. Talking House Studios) lies in wait to facilitate the sonic shaping of the next great project. Yes, Talking House was designed and built by famed architect John Storyk and the Walters-Storyk Design Group. Yes, it clocks in at nearly 9,000 sq. ft. And yes, that SSL 9000 K was pulled from the now tragically deceased Hit Factory in New York City.
No, building and operating a studio of this scope is not an exercise in futility in this day and age. Don’t believe us? Just ask any of the many artists/groups that have been given the Talking House treatment. From The Trophy Fire to A Band Called Pain, all will attest that the Talking House team has aided them in making public their works, not just by merely tracking, mixing, or mastering their albums, but by functioning as a production company in the truest sense of the word(s) — offering comprehensive services that span from project development to marketing of the final products.
But enough of all that; what really floats our boat isn’t the forward-thinking approach to studio ownership (as much as we do applaud it) but, rather, the godly gear housed with the walls. From the Klaus Heyne Edition Brauner VM1 to the EMT plate reverb (upgraded by Martech, of course); from the Ampex and Studer tape machines to the vintage array of backline equipment (Juno-6s, DC-7s, and AC30s oh my!), Talking House truly has some of the tightest in-house gear in the Bay Area and beyond. Seriously, take a look at that gear list and then try to convince us you don’t want to freelance a session in Talking House.
We won’t believe you.