Review: 2Q Intelligent Talkback Remote by Marc Alan Goodman

Communication is vital in any recording studio, but the separation between the musicians and engineer will strain the conversation without a proper workaround.

Artists often come into the studio ready to bare their souls which can lead to extremely personal, and productive interactions during a session. However, in most studios there is more than a figurative wall between the musicians and the engineer.

Since that wall went up engineers have been looking for ways to get around it, to enable an ongoing dialog so the musician does not feel like they’re trapped alone in a fishbowl.

The obvious solution has been the talkback button – simply, a microphone in the control room which allows the engineers, producers, or whoever is isolated from the musician to share their input. Originally the talkback mic was just left on all the time, but in order to prevent feedback through the studio’s monitors it has over time been connected to a simple momentary switch. This switch is the only thing preventing clear communication between the two rooms, and it always seems to do a good job of it.

Our control room – at Strange Weather – has become crowded with gear over the past few years, and as a result it’s difficult for anyone other than the engineer to sit at the desk itself. When another band member, producer, or anyone else in the room wants to be able to speak with a musician in isolation they have to get right into the engineer’s space. To top it off, when conversations get excited people often forget to press the button and end up talking to themselves.

The 2Q Wireless Talkback Remote system – developed by Techshop NY – is not a new idea. I’ve worked in a number of SSL rooms over the years where the house tech had rigged up a similar wireless talkback system using garage door openers. However they were always directional, never seemed to work right, ran on batteries which died quickly and you had to be able to build it yourself.

The 2Q solves all of those problems.

The package includes two remote controls, a receiver, and a wall wart power supply. At our request it came wired up to interface with our API 1608, so all we had to do was plug in the 5-pin XLR to the remote port on the desk and plug in the attached wall wart. The remote controls could then activate the talkback microphone from anywhere in the room.

First things first, as soon as we had it plugged in I moved from the desk to the couch while the musician was warming up. We were tracking some preliminaries for the new Alfonso Velez album, and the drummer wanted an opportunity to get used to the kit and move things around.

Normally I would sit at the desk so I could quickly answer any questions he may have or make any adjustments to the cue mix. However this time I got my head out of the computer monitor and was able to respond in a timely manner by using the remote.

Once we got going I gave the remotes to the bass player, who was in the control room, and the drummer who was in the live room. Alfonso had a scratch vocal mic set up so it was easy for him to communicate, but not so easy for other people to reply. Now, when the bassist had something to say to the drummer he didn’t need to lean over and get my attention at the desk, he could simply push a button. The drummer, on the other hand, didn’t need the button to talk, but whenever he felt like something was going on in the control room that he couldn’t hear all he had to do was press the button and he was part of the conversation.

After the session we spent a bunch of time trying to trick the 2Q. We put the remotes under pillows, we brought them down the hall, and no matter what we did they worked flawlessly.

The 2Q is a simple solution for a simple problem, and it does a fantastic job of it. It may not be in the signal chain, but it’s amazing how much improving communication can improve both people’s moods and their performances. I’d been considering building my own system for the same purpose, and now that I have it running I can’t believe I put it off for so long.

- Marc Alan Goodman, Strange Weather Brooklyn

The 2Q Wireless Talkback Remote ($270) is available through Redco Distribution or directly from Tech Shop NY via www.twocue.com.

Marc Alan Goodman is a producer/engineer who’s worked with artists such as Jolie Holland, Marc Ribot Shudder to Think, Dub Trio, Normal Love, Alfonso Velez, Angel Deradoorian and Pink Skull.

Where the Rubber Meets the Road: Converse Opens A Free Recording Studio in Brooklyn

WILLIAMSBURG: Inaugural sessions at the brand-new Converse Rubber Tracks recording studio in Williamsburg kicked off last week where, as previously reported, the century-old footwear company, outfitter of rock musicians from Sid Vicious to Karen O, is now outfitting the music community with studio time – free studio time.

Lifestyle brands and music go hand in hand, we realize. But lifestyle brands operating recording studios? Recording studios being free? These are still fairly new concepts and we had questions.

So a couple weeks ahead of opening day, we jumped at the opportunity to walk through the new 5,200 sq. ft. recording, rehearsal and performance space with Converse Chief Marketing Officer Geoff Cottrill, the man with the answers.

“We are at a place where we can help facilitate art, where we can help to make a contribution,” Cottrill said of the venture.

“We’ve been lucky that artists in the music industry have adopted Converse over the years, and taken our brand into places I don’t think anyone at Converse expected it to go. We feel a responsibility to the creative community to say thank you, and to give back.”

With that larger community in mind, Converse reserved the majority of the 5,200 square feet as open, multi-use space with a stage at the far wall, loungey couches and ample standing room for live music events. Rubber Tracks has a minimalist industrial interior that feels raw, comfy and clean, giving it a garage-like gallery vibe, kind of a blank slate.

Built up around the main space are a small rehearsal studio, Studio B mix and overdub suite, and the main-event Studio A control and tracking rooms.

As studios go, Rubber Tracks is the real deal. Studio A features a 32-channel API 1608 analog console, Pro Tools HD system, Allen Sides Ocean Way mains, LA2As, 1176s and appropriately fleshed out racks, mic cabinet, amps and instruments. The tracking room is large enough for live band tracking, with two isolated booths. Tie-lines to the stage provide alternatively gargantuan sounds.

The facility was built by Chris Harmaty’s Audio Structures – the contractor-builder behind Downtown Studios, and many of the Walters-Storyk Design Group facilities – with technical design and installation by Matt Marinelli, of Coral Sound. With Guitar Center and GC Pro as technology sponsors, this facility wants for nothing in the way of musical and audio gear.

“The idea is that we should have everything you need to record,” says Cottrill. “You’re welcome to bring your own stuff, even your own engineer, but we should be able to provide you with anything you’d need.”

Converse hired NYC-based Cornerstone to help plan, publicize and now run Rubber Tracks, which will be booked via an online application process. Cornerstone alum Brad Worrell, a producer/engineer and lifelong musician, is the studio manager. Worrell will be coordinating the sessions – starting pre-production talks weeks ahead of time so that bands come prepared with some achievable goal for the day – and assigning one of a stable of established independent engineer/producers to the dates.

“We’ll have half a dozen guys who we hope to be able to match up with the artists, and I’m really happy with the guys that we’ve gotten so far – Jason Goldstein, Matt Shane, Alex McKenzie,” Worrell notes. “Having rotating engineers rather than a house engineer allows us to keep the talent level extremely high. And these guys are excited to work outside of their normal call.”

By offering gratis recording in a professional facility, Converse aims not only to deepen its connection with up-and-coming musicians but also to help spread the experience of professional recording and sound within this community.

Whether totally intentional or not, this is experiential marketing for both Converse and professional studios: artists have a positive recording experience they associate with Converse, becoming fans for life, and leave with a better understanding of why a professional studio and engineer are worth the investment. It’s a win-win. Right?

It seems so. If Rubber Tracks runs as planned, local commercial studios should not have to worry about their artist clients booking time at this new, free studio. For one, you cannot simply call and book time at Rubber Tracks. You have to apply and wait to hear back. Also, artists who are accepted will generally be granted one-day-only sessions.

Big picture, Worrell expects the program to create more work for local commercial studios than it could possibly take away.

“I think there’s a very good chance that Rubber Tracks being here could actually increase business for commercial studios,” he posits. “Not just because we are raising awareness of the professional process and sound but also because let’s face it – we are going to try to finish projects with these artists, whether it be a song, or drum tracking for an EP, but we’re simply not going to be able to finish them all. And where are they going to finish them?

“I think about it like when you get a coupon for a free coffee, from Starbucks or wherever,” Worrell continues. “You go in and you’re like ‘whoa, this is good – it’s so much better than what I was making at home.’ You suddenly start going to Starbucks. Not all these bands are going to suddenly be able to pay for studio time, but I honestly believe that if we have any impact on the local studios, that it will be positive.”

Also, success for this venture seems to hinge on booking the highest volume of acts who fit the bill – as Cottrill qualifies, “artists who really can’t afford to get into the studio for the first time” – rather than necessarily the bands with the most buzz, potential, or commercial appeal.

“As long as you’re serious about your music – if you look like you’re trying, you have a Facebook page and you’re playing gigs – you’ll get in,” says Worrell, assuring that the curatorial aspect of bookings will be almost nil beyond that. “It’s not going to be based on whether or not anybody here likes the music.”

On top of the most basic criteria, diversity is on order. “We are purposely going outside of what we’ve been normally associated with in terms of music,” says Cottrill. “We want it to be diverse. That will keep the place fresh, and also give the engineers opportunities to work with different kinds of acts.”

And Cottrill is very quick to point out that unlike a number of other lifestyle brands who’ve entered the music space, Converse will not be dabbling in the business side of the music created at Rubber Tracks.

“We are purposely staying out of the business side of this,” he states plainly. “We are not starting a record label. We’re not getting into the music publishing business.”

Converse saw a different opportunity, perhaps, than Mountain Dew did in starting its Green Label Sound, or Red Bull with its studios and record label – one that leverages and builds on the brand’s social media equity without officially aligning with any particular artist or style, or scene.

“We have 38 million Facebook fans,” Cottrill points out. “And we are going to create syndicated programming out of here that artists can opt into if they want to. But there are absolutely no requirements to do so – no one has to sign anything.”

With two of the top 10 most “liked” Facebook pages, Converse could certainly end up breaking a band, but that’s not really the point.

The goal is to facilitate a high-level recording experience for as many artists as possible – to cultivate an understanding of what’s possible in a day, and then help the band get the most out of their session. It is not, as Cottrill explains, about finding the next big thing, or making anyone famous.

“This is about the process and the experience of recording,” says Cottrill. “If 1,000 bands come through here, and one of them becomes the next Radiohead, cool. But, the 999 that don’t, well, these are the people that run the world. These are the mothers and fathers and lawyers and roadies and producers, etc. and they will never forget this experience.”

Strange Weather Building New Recording Studio In Williamsburg

Strange Weather owner/engineer Marc Alan Goodman is building a new recording studio on Graham Avenue in Williamsburg, Brooklyn.

The new studio will be designed by Wes Lachot Design (Saddle Creek Records’ ARC Studios, Mitch Easter’s Fidelitorium, Electric Lady Studios’ B and C acoustics) in cooperation with Hannah Purdy of NYC architecture firm, Walsh Purdy.

The plan includes a 400 sq. ft. “reflection free” control room featuring all of Strange Weather’s existing gear, including the 40-channel API 1608 console, Pro Tools HD3, Studer 820 ½” and A820 24-track machines, and vintage outboard gear galore, as well as a 750 sq. ft. live room and two large iso booths.

Plans are in the works and construction should start mid-summer! Strange Weather is currently located next to The Bunker Studios on Broadway in Williamsburg and will be making its migration over the next few months.

Stay tuned for updates!