Outlandish Audio was set up as a haven for music that is created irrespective of market forces. It is a project designed with the musician in mind, providing sensitive audio solutions to all manner of sonic situations. The services offered are primarily recording, live sound and road management.
I run a small studio set up from my studio in Tottenham. There is a live room with an upright piano and lots of instruments around to take advantage of. I am happy to do session work as part of our work together and a lot of people like to take advantage of that as I play double bass and can do guitar and 5 string banjo work.
My place is just right for acoustic bands, duos and trios but it's always best we discuss your needs on an individual basis as I work with each person to find the most comfortable and appropriate way to capture their sound. I have done larger bands here, I have tracked drums (I have a full kit here) and had people playing live with them in separate rooms, so nothing is beyond the realms of possibility, but I specialise in the more acoustic side of the music world.
People sometimes ask me to produce their records. I try not to take on that role alone but I am happy to co-produce with musicians and to chip in with ideas when appropriate. The Groanbox track on this page is from an album I co-produced with them (as well as engineered and recorded) and involved a degree of shaping in post production to create a more succint track out of a much longer jam session.
Of the tracks featured on this page, you can hear my banjo playing on the Smith, Byrnes, O'Sullivan track on this page, which also features my double bass playing, as does the Freddie Keen track. The Oscar Cainer track is one I wrote and performed on guitar and voice.
IN-HOUSE BACKLINE: For full ist see here:
Martin HD28V acoustic guitar
Eko acoustic guitar
Hofner Classical acoustic guitar
Fender Dobro resonator guitar
DeArmond M75T electric guitar
(Mexican) Fender Jazz electric bass
Hofner fretless acoustic bass
Ken Miller upright acoustic double bass
Pearl 5 piece drum kit with hi-hat, crash and ride + vintage Sabian ride cymbal
Various percussion instruments (including Calabash and Tin Can Toms)
1892 Lyon & Heally 5-string open-back banjo
Yeung Chang upright acoustic piano
Laney R3 bass amp
Fender Blues Junior electric guitar amp
Vox DA5 portable guitar amp
This is a showreel I made back when I had first set up a studio. The equipment has been updated but the ethos remains the same. Click here to watch on youtube.
This is a music video made by an acoustic duo that recorded here in 2010. The music is the unmastered first mix of the take shown. Click here to watch on youtube.
TECH LIST: For full list see here:
For those who need to know I record using Cubase 7 on a 2012 iMac. I use an Allen & Heath ZedR16 as my interface and pre-amps but I also have a Focusrite Octopre MkII 8 channel preamp I can use in conjunction for up to 24 mono tracks of simultaneous recording. I also have a Focusrite Saphire Pro 40 for use in the same way. For more flavours I have two TLA Indigo 2051 preamps. I can record at either 44.1 or 48 but usually stick at 44.1 as most people require CD quality. For monitors I switch between Mackie HR824mk2 and Yamaha NS10 powered by a QUAD 405-2 mk2, plus I have a pair of Sennheiser HD600 and HD25 headphones to check mixes on. I also have several other speaker sets of differing size and quality through a technics hifi amp to test mixes in a variety of settings.
1x Beesneez Sally, 2x Beesneez Lulu (matched), 1x AKG C414 EB w/ brass CT12 capsule, 2x AKG C414 B XLS, 1x Customised Rode NTK Vintage Tube Mic, 2x Custom Capsule Rode NT55 (matched), 2x Line Audio CM3 (matched), 2x Line Audio OM1 (matched), 2x AKG C1000s, 2x Samson C02 (matched), 2x Samson C02H, 1x Shure Beta 91a.
1x Shure SM7b, 2x Shure Beta 57a, 1x Beyerdynamic M201TG, 3x Shure SM57, 1x Shure Beta 52a, 3 x Shure SM58, 1x Shure Beta 52a, 1x AKG D112, Samson Q Drum Mic set (3 Tom mics and 1 Snare mic).
1x No Hype Audio LRM-1/L
Out Of My Hands, 2008
Same Old Story, 2007
Riding Solo, 2009
NOTE: The vocalist requested a phasing effect on his voice on this song that was added at the mxing stage.