Our friendly and knowledgeable engineers and producers are passionate about achieving the sound you want, in high-quality, to give you the best studio experience yet. You’ll feel right at home in this world-class recording facility, a place where you can easily create at your best, while capturing your music in the highest quality.
We record any level of project in any genre, whether it’s a short vocal session or a fully produced commercial album, with the sound your music deserves.
We do it all! Specializing in:
ANALOG DRUMS: Analog is back! Get that warm, full, punchy sound of analog routed simultaneously into Pro-Tools in Studio A.
GRAND PIANO: Record on our beautiful Yamaha C6 Grand Piano in the Studio A live room.
LIVE INSTRUMENT TRACKING: Record separate tracks for a song or track an entire band live.
COMMERCIAL VOICE-OVERS: We help many voice actors and companies record high-quality voice-overs.
We can help with drum editing, re-amping, overdubs, MIDI, ADR, foley, audiobooks, video recording, etc. We do NOT do any kind of tape or cassette transfers (we only put our own reels on our Studer), CD duplication services (recommend Discmakers) or on-site recording.
STUDIO A RECORDING
Our Wes Lachot designed Studio A captures and presents sound truthfully for excellent recordings, greatly reducing time spent mixing and mastering. We offer digital recording in Studio A and B via Pro Tools HD 10/11, as well as analog recording through a Studer 2-inch tape machine via CLASP for fast, easy digital editing in Pro Tools. Eliminate every negative aspect of recording to analog tape but keep that warm, analog sound! Studio A offers nothing less than world-class recording.
STUDIO B RECORDING
Studio B is not the typical “Pro Tools room”. Record tracks through an Avid ICON console to get your music ‘out of the box’ so it doesn’t sound made in a box! Designed and built from the ground up for accurate, high-quality sound recording and stacked with custom-built gear, you won’t find studio foam on the walls or any off-the-shelf equipment. We are proud of this “shrunken down version of studio A”!
Listen to audio samples from bands or songwriting projects.
Tell us about your project via a Project Quote form online, or just give us a call at 727-449-8888.
Need an amazing Pop/Rock mix? The absolute best value for your mixing dollar is right here at Clear Track!
More about mixing: Mixing music professionally is a highly skilled art, and while the recording process is important, it’s the mixing engineer who adds the final touches to the artist’s vision. When you have all the separate tracks of the song recorded and would like a commercial release, professional mixing is necessary to blend the instruments together to achieve a good balance of your song elements and improve sound quality. A good mixing engineer can creatively control sound and uses his studio control room as his greatest tool when mixing. The Studio A control room was designed to be one of the best mixing rooms on the East Coast.
Mastering is quoted per project. Contact us to get a quote.
The enhancements of a professional master will polish your final mix and give it the impact and competitive edge needed for a commercial release. After the final mix is mastered, it will not only sound great in the studio, but in everyday listening environments.
We also offer radio-ready, professional mastering done by A-list engineers and Clear Track affiliates Shelly Yakus, Ari Blitz and team (credits include: Lady Gaga, U2, John Lennon, Stevie Nicks, Alice Cooper, Van Morrison, Tom Petty, Dire Straits, Blue Oyster Cult, Bob Seger, Don Henley, Madonna, Janet Jackson, Tinie Tempah, Lazy Bone, Terry McDermott, Adam Lambert, Ray J, Michael Jackson, Diddy, Sting, Paula Abdul, Brian Adams, Janet Jackson, Donna Summer and Aerosmith…)
Rather unique about Clear Track is our focus on Music Production, Songwriting and Artist Development. The team we have in place for this delicate and essential part of the music industry is stellar, both in talent and skill, as well as letting the artist be who they truly are while achieving standards for commercial success. This area can often be troubling for artists without the right team, but at Clear Track this is where artists have the most fun!
When an artist contacts us with a project in mind, or with nothing else but a desire to ‘make some music’, we invite them to meet at the studio and discuss their goals/project with a producer. See how easy it can be to get started making music! Schedule your tour and meeting today. See our Music Production page.
If you need a guitarist, drummer, bassist, etc, to play on your project, we have many talented session musicians, and even a session band, to help make it happen. Piano, violin, flute, congas, vocals and world-class percussion–you name it, whatever the genre or budget, we’ll help you get the sounds you need for your music.
Besides having a friendly and helpful staff, and the best gear you can work with, the studios are located in a relaxed and quiet part of town, a perfect getaway from the ‘hustle and bustle’ of NY and LA. We welcome professional engineers, producers and artists to rent out the studios. We’re happy to answer any questions you may have about the studio and to help facilitate your project in any way. Be sure to check out Studio A‘s page for further info and specs on our studios.
From beginning to end, our team will make very sure you have excellent, efficient service and a smooth studio experience–which isn’t hard in our well-maintained, cutting edge facility.
Our chief engineer’s passion for the art of sound recording and mixing has led to the establishment of the popular The Art of Sound Recording ten-week course, giving the “hardcore basics” and industry “tricks of the trade” to aspiring engineers inside a real studio environment. We believe there’s no better way to learn recording!
Through this intense, hands-on studio training immersion, aspiring engineers are gaining real studio experience as a vital necessity for truly understanding the industry and making professional recordings. Go to www.ArtofSoundRecording.com for more information.
Clear Track’s Chief Engineer On “What Makes A ‘Good’ Studio?”
Any creative professional knows how important their music is to them. Good studios exist to help make it important to many.
I like to see more studios and artists doing well and putting out good sounding work. That’s really what it comes down to and why Clear Track was established in the first place: to keep the art of sound recording alive. In doing so we not only became a trusted home for artists, but also a place to teach aspiring engineers who’ll know how to make their own good work.
So how can you feel more confident that a studio will give you a great experience and deliver good sounding work? For one thing, you’ll need to find a good studio, a professional studio.
The standards you should look for and expect from any professional studio are these:
1. A good engineer
2. Good room acoustics and monitoring (the speakers portray sound accurately)
3. Good equipment to manipulate the sound
That’s not to say it’s impossible to get good music recordings without these three factors, but it’d be much more difficult. I should say that these only work if you have good content to record in the first place. When all of these factors are working, anything you record should sound good in the studio AND outside of it.
So how do you know if these three factors are “good” or not?
First of all, go and take a tour of the studio and listen to the work that’s come out of it. Ask yourself while you’re there, “What’s the vibe of the place? Will my music project be cared for here?” How you feel in a studio is really the first thing you want to find out. It may look good on the website, but you also want to know what the people are like.
A good engineer is competent and experienced (I’d say at least ten years), and has good work to show for it. Ideally, they’re friendly, interested and really care to get the sound the artist is going for. They’re happy to show you their work and will probably tell you the latest success from a recent project.
The key people on most records are the producer, engineer and mixing engineer. In rare cases one person is all three, and more commonly an engineer can also be the producer. True professionals work with the necessary equipment and can be trusted with their judgement.
Studio control rooms, where the engineer listens and works (literally “controlling sound”), are similar in concept to how we control light. In a movie theater we control or remove the light to see only the picture on the screen. Painters need to work in well-lit rooms with natural or full spectrum light so they can see their work in detail while they paint.
Other than inspiring aesthetics, studios cannot actually be judged by our eyes. It is almost a mystery to us, as we cannot measure the accuracy without test equipment. Or better yet, the true test is the success of a final mix that sounds good not only in that studio, but translates well everywhere else the final mix is played.
So a good room would capture sound truthfully in the live room and present it accurately in the control room for the engineer. It isn’t a square office room, but designed from the ground up, preferably by a studio designer. A good room may look like a work of art visually, but the subtle mathematics throughout help achieve “sonic beauty”. That’s something you have to hear for yourself in the room or in the work that comes out of it.
Work done in bad rooms often makes clients and listeners wonder, “Does this studio have any idea what they’re doing?”, when in reality the faulty music making environment is holding the engineer back from achieving “sonic success”.
This is why it is vital for both artists and professional engineers to work in purpose-built environments for both the recording and mixing phases. This means the performance space (vocal booth, live room) should be quiet spaces, where nothing other than the musical sounds are being recorded. These are often very balanced sounding—if you clapped your hands it wouldn’t sound too “live” or too “dead”, and would allow professional microphones to perform at their designed standards. You shouldn’t hear the A/C humming loudly or any outside noises.
The reason we have acoustic panels and diffusors instead of foam on the walls is because that’s what works the best. I don’t like to bash, but I have to say there are some gimmick products out there, like studio foam that people put on the walls to make a room sound like a studio. Truth is, it’s no more than a big Bandaid, and it doesn’t even stop the bleeding. I would generally stay away from that, unless you’re just dabbling around in your own home studio. But a professional studio should be professional enough to know better.
Along with the combination of acoustic design and aesthetic appeal, a good room must have accurate monitoring so the work can translate well in other listening environments. I have a few different sets of monitors in my studios. The big Dynaudios help me to hear the full, truest details of a song, as well as my little, fifty-dollar RadioShack speakers so I know how it will sound out in the real world. Those are my favorite, actually.
As for the last factor, good equipment, to know if a studio has that or not you’d either have to be very familiar with studios or trust that if the engineer and rooms are good, then the equipment should be sufficient. There are known standards, and many engineers love brands like SSL, Neve and API, but whether it’s big name stuff or not, it’s the level of quality and character of the equipment that matters.
How do you know if that’s good? You hear it. See how the studio compares to your favorite big budget records, where there were no compromises on quality. Where was that record made? Who produced, engineered and mixed it? Good points to look into. There’s usually an equipment list on any studios’ website you can look up, and don’t be afraid to tell the engineer your inspiration and ask if they could make your record sound similar.
In professional studios today it is possible to achieve some really amazing sounds, any kind of vibe you want for a record. A good engineer can pull off a lot of neat tricks, even without the best equipment or best sounding room—but usually they’ve learned these tricks from working in those studios.
So when it comes to something as important as your music, my advice is to never “take what you can get” because you aren’t sure or you’re worried about the budget. I’m telling you the minimum standards any creative professional should have, and that a great sound is easily achievable where a studio keeps those standards. And when you find it, be prepared to have the time of your life, too!
I hope this data will be of help to many artists and that your music project gets the sound it deserves.