Calgary Music Recording Studio - Calgary music producer, engineer, mixer for musicians and vocalists.

"Amongst the things I'd love to be when (if?) I grow up would be a deadly musician or a really good recording engineer. Brad's both, and then some. If he wasn't such a swell guy to work with (as I did, for some years) I could hate him for his abundant and diverse talents. Damn!"

Scott Willing - DLS Instrument Designer, Tech Writer & Crappy Musician




The current recording set-up consists of a Soundcraft 328XD digital console feeding a dedicated pc running Cubase SX.

The Soundcraft can send up to 16 channels at a time using the ADAT light pipe technology. There is also a Universal Audio UAD-1 card installed that has software emulations of quite a number of pieces of classic outboard gear that have more than surpassed my expectations. Having used many of the hardware versions of the "real things", I am very pleased with the results.
I currently have an Audio Technica AT50, a Neumann U87, a matched pair of Shure KSM141s, an AKG C414B-TL II and an Audix drum mic package. I also have access to the wonderful collection of microphones owned by my former employer, QSound Labs that I can tap into if and when needed.
I've been using a pair of Event 20/20 powered monitors for a few years. I've come to like them quite a bit as they seem to sit about mid-way between the somewhat "hypey" sounding Genelecs and ns10s. I've had mastering engineers tell me they rarely have much to tweak with my mixes, which I will credit to the accuracy of the Events. I do still have and use the tried and true Yamaha ns10ms as well, powered by the very same Bryston 3B amp I had at QSound for ten years. Bob still uses them, so what the heck!
Can one have too many? Being a guitarist for about 40 years I do have a fairly nice accumulation of tasty pieces - about 20 instruments. Not all guitars either. A small sample would include a 1954 Les Paul, a 1963 Stratocaster (purchased from GE Smith), a 1964 ES175, a 1967 ES335 (purchased new, my first good electric) and a 1968 Gretsch Country Gentleman. So, four strats, a couple of teles, some acoustics, some basses, a tenor banjo from 1925, a mandolin, a lap steel, assorted odd bits and access to a whack more if those aren't cutting the mustard. I also have a Yamaha SY77 keyboard and a Steinberg Halion virtual instrument for some of those less guitarish needs.  

I know that great gear makes great sounding records. Conversely, I also know from first hand experience that incredible equipment doesn't (and never will) guarantee a good song. My main interest is in making the music and capturing it as skillfully and as honestly as I can. I have had to be prudent in choosing the equipment for my studio based on experience, budget restraints and a realistic assessment of my needs. To date I am very pleased with my current box of tools. They work.