Originally quoted $75,000 just to float the floors in the control room, Kretz opted instead to do most of the work himself. “The music industry is going in a whole different direction,” he says. The Fleetwood Macs aren’t out there anymore, who come in for a year and a half and pay full rate. A lot of the time now mixers and engineers are coming in and recording drums, bass, and guitars for a week or two, and then they go to their house and finish up vocals and mix there, and if there budget affords it they come to his studio to mix because the SSL board is so great.”
The vocal booth is decked out in overtone-squashing crinkled red-velvet wall covering. The ceiling offers an unobstructed view of the industrial-chic duct work through transparent panels consisting of two pieces of screen set at opposing angles. The design has acoustic value, but Kretz mostly likes how the screens produce a psychedelic wood-grain pattern that shifts with the light.
The drum riser ensconced by Kretz’ enormous mobile gobos.“You have to tune the room in that you want enough reflection, but not so that it’s overkill,” Kretz says. It helps that the natrually porous brick walls already absorb some stray reflections.
This vintage EQ/preamp was built in 1969 for the BBC in Johannesburg, South Africa. “It gets used on every record,” Kretz says. “Usually your drums go through this. It’s such a fat sound. The older stuff just has a bit of dirt to it that really adds a lot of character.”