Built for
extreme metal
Most studios tolerate extreme metal. Ours is designed around it: dense tremolo walls, blast beats, low tunings and dynamics that go from a whisper to a scream in half a bar. Three services, one pure analogue chain, and not a single plugin.
Pure analogue. No plugins. Ever.
In a world of synthetic, artificial sound, this studio runs a 100% analogue signal chain from the pickup to the converter. No amp sims. No impulse responses. No plugins of any kind.
Every tone you hear from here is a real pedal into a real tube amplifier driving a real cabinet, captured by real microphones in a real room. The room's reflections are part of the sound on purpose: they imprint a signature that stays alive in the record instead of the flat, interchangeable results of modelled chains.
The rules
- Analogue signal path end to end, pedals included.
- No amp or cabinet simulation, no impulse responses.
- No plugins, on any service, on any track.
- Room reflections are captured, not removed.
- Conversion only at the very end, on RME hardware.
- Missing something? We acquire whatever your record needs.
Sound is physics. We treat it that way.
The studio is run by a PhD physicist who plays, composes and produces this music. Every decision in the chain, from where a microphone sits to how a cabinet couples with the floor, is made from first principles rather than folklore.
That is why the chain stays analogue: a modelled amplifier is a simplification of the physics, and a plugin reverb is a simplification of the room. We keep the real thing, and we know exactly why it sounds the way it does.
What that buys you
- Mic placement and phase alignment worked out, not trial-and-error.
- Room reflections used deliberately as part of the tone.
- Tube amplifiers and speakers driven where they behave best.
- Masters that respect dynamics instead of crushing them.
Reamping
Record your DI tracks at home, in any room, through any interface. We run them through real tube amplification, real cabinets and real microphones in a real room. No impulse responses, no amp sims.
Reamping is the fastest way to a world-class guitar and bass sound without a world-class room of your own. You keep total control over the performance. We handle the tone, the mic placement and the capture.
- Remote delivery: upload DIs, receive finished stems.
- Rhythm, lead and bass chains dialed on real amps for the genre, not a preset.
- Room microphones available on every pass, so the space becomes part of your record.
- Multiple mic and cabinet options per track, blended or delivered separately.
- Revisions until it sits in the mix.
How it works
- Send DIs. Clean, unprocessed direct tracks with a tempo map and a reference mix.
- We dial. Tone is built against your reference and the rest of your mix.
- You review. Quick previews before the full pass.
- Delivery. Full-resolution stems, aligned to your session.
Recording
Tracking sessions for guitars, bass, vocals and drums with an engineer who plays and produces this music.
Everything is captured through the same chain that makes our own records, so what you hear in the session is what reaches the mix. Sessions can be booked as a single instrument pass or a full production.
Good for
- Guitar and bass tracking in low tunings
- Drum tracking on Roland V-Drums with MIDI delivery
- Harsh and clean vocals, layered or single-take
- Full-production EPs and albums
- Solo projects that need a second set of ears
Mastering
Loud without being flat. Dense without being muddy. Analogue mastering that respects the genre's dynamics instead of flattening them.
Processing is analogue, in keeping with everything else here. We deliver masters for streaming, CD, vinyl pre-master and cassette, with stem-mastering available for mixes that need surgical help.
Deliverables
- Streaming masters (loudness-targeted)
- CD (DDP or WAV with PQ sheet)
- Vinyl pre-masters with side splits
- Cassette-ready masters
- Stem mastering on request
Gear
Everything in the room is here because it earns its place on an extreme metal record. Pick a chain, or let us pick it against your reference. If your record needs something that isn't on this list, we acquire it.
Electric guitars
Every guitar carries a different pickup set, so the same amp chain can be voiced eleven ways before a single knob moves.
| Guitar | Neck | Body | Fretboard | Bridge pickup | Neck pickup | Bridge |
|---|---|---|---|---|---|---|
| Gibson Les Paul Standard 60's | Mahogany | Mahogany, AA maple top | Rosewood | Lundgren M6 | Lundgren M6 | Fixed |
| Gibson Les Paul Standard 60's | Mahogany | Mahogany, AAA maple top | Rosewood | EMG 81-X | EMG 85-X | Fixed |
| Gibson Custom Les Paul 70's | Maple | Mahogany | Ebony | Bare Knuckle Nailbomb | Bare Knuckle Nailbomb | Fixed |
| Jackson SL2 DX | Maple | Alder | Ebony | Lundgren Black Heaven | Lundgren Black Heaven | Floyd Rose |
| Jackson SL2MG HT | Maple | Alder | Ebony | EMG 81 | EMG 85 | Hardtail |
| PRS Custom 24, 1 of 1 | Mahogany | Mahogany | Ebony | Seymour Duncan Black Winter Rails | Seymour Duncan Black Winter | PRS tremolo |
| Ibanez RGR762AHBF (7-string) | Maple / wenge | Ash | Bound rosewood | Seymour Duncan Black Winter Rails 7 | Seymour Duncan Black Winter Rails 7 | Floyd Rose type |
| Ibanez RGA652AHFM | Maple / walnut | Ash | Maple | Bare Knuckle Polymath | Bare Knuckle Polymath | Fixed |
| Abbate PA Roswell | Maple | Alder | Rosewood | Seymour Duncan Nazgûl Rails | Seymour Duncan Sentient | Floyd Rose Pro |
| Schecter C-1 FR S SLS Elite Evil Twin | Maple / walnut / padauk | Swamp ash | Ebony | Fishman Fluence Modern | Sustainiac | Floyd Rose |
| ESP E-II Horizon III | Maple | Alder | Ebony | Seymour Duncan Black Winter Rails | Seymour Duncan Black Winter Rails | Fixed |
Guitar amplifiers
- Mesa/Boogie JP-2C
- Soldano Astro-20
- ENGL Savage
- EVH 5150III 100S, 100 W, 6L6
- EVH 5150 Iconic combo, 40 W, 6L6
Cabinets
- Mesa/Boogie Rectifier Standard 4×12, slant
- Mesa/Boogie Rectifier Standard 4×12, straight
- EVH 5150III 100S 4×12
Pedals
All major analogue pedals: overdrive and boost, distortion, fuzz, compression, EQ, modulation, delay and reverb. No digital modelling anywhere in the chain.
Bass
- Schecter SLS Evil Twin bass
- Darkglass Microtubes 500 head, 500 W
- Darkglass 2×10 cabinet, 500 W
Conversion & reamping
- RME Fireface UFX III
- RME HDSPe AIO Pro
- Radial active reamp station
- Perkelium Black Urn (in development)
Electronic drum kit
- Roland VAD103 V-Drums, 4-piece acoustic-design kit
Full-size shells with Roland's V-Drums brain: real playing feel for blast beats, with MIDI delivered alongside the audio.
Microphones
- Beyerdynamic M 160
- Shure SM81
- Shure SM57
- Shure SM58
- Sennheiser MD 421
- Sennheiser e 906
Two prices. No surprises.
A fixed price per song, or a straight hourly rate. Either way you get the entire analogue arsenal, the room, and an engineer who treats sound as the physics problem it is.
One song, one price
Reamping, recording or mastering of a complete song for a flat fee. You know the cost before the first note is played, however many chains, cabinets and mic positions it takes to get it right.
- Fixed price, quoted up front
- Full access to every amp, cabinet, pedal and microphone on the list
- Room microphones and real reflections, never a reverb plugin
- Revisions until it sits in the mix
By the hour
For tracking days, tone hunting, partial jobs, quick fixes and anything that doesn't fit neatly into a song count. Billed to the hour, no minimum block.
- Same gear, same room, same engineer
- Ideal for tracking sessions and experiments
- Stop when you're happy, pay for what you used
Why it's a bargain
A ten-song album at the per-song rate costs less than the wall of amplifiers it's recorded through. You rent a room full of gear most bands will never own, for the price of a single song at a time.
Why it's not cheap
Nothing here is a preset. Every tone is dialed by hand on real tube amplifiers, moved through real air and captured on real microphones. That takes time, ears and a room. You're paying for all three.
Why it's worth it
The engineer holds a PhD in physics. Phase, room modes, speaker behaviour and microphone placement are solved as physics, not guessed at. The result is a record that is still alive ten years from now.
Larger or unusual projects
Full albums, multi-band sessions, residencies, unusual formats or anything that doesn't fit the two rates above. We'll put together custom pricing and terms for the project.
Prices in US dollars. Tell us track count, tunings, delivery format and deadline for a written quote. Need gear we don't have? We'll source it for the session.