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Big Ears Recording Studio

It all began when I was fourteen. To learn how to play music on various instruments I would place coins on my record stylus to slow the vinyl record down. This would enable me to learn parts of songs and tunes that would play back slowly. Then I would transpose the piece of music back up to its original pitch/key. It was a portable record player which doubled as my guitar amp by plugging headphones into an input. Don't try this at home kids although I did. The headphones were then spread apart, one speaker on the face of an acoustic guitar, the other on the back of the guitar, now working as a microphone of sorts and outputted through the record players speakers. By the age of sixteen I owned a Mini Moog synthesiser (released 1970), Envelope Modifier, WEM Watkins Copy Cat tape echo loop (made early 60s) Echoplex (first made in 1959), and began recording sound effects and music with a passion. I still have that passion thirty eight years later.

BIG EARS RECORDING STUDIOS is such a passion and I really want people to leave the studio feeling happy with what they have played and I have captured. A realisation of their musical intentions. If they are not happy they can return within a reasonable time span, at no extra cost.

It may require a great deal of patience to do seemingly endless takes of music and although my audio engineering advice may be offered, bending to the needs of musicians is as important, even if I may not agree. What may sound absurd can sometimes bring a curve ball to a session that might just work. Whether I jam with experienced or amateur musicians, it is best to listen to the conversation of music as well as play. This is the attitude I take in the studio. When jamming, some musicians may not be in the same room but at least we should be under the same roof. The big ears expression was born from this concept.

Obviously some rules must be adhered to such as the M-S (mid-side) coincident microphone technique developed in the 1930s. Done incorrectly the M-S technique can go terribly wrong. Some Tonmeisters may say that you must follow the rules and others may say that they are there to be broken. I say there are so many rules that one can experiment with tried and true methods. This may be reinventing the wheel but on occasions such as in the way of Microphone placement one can come up with something outlandish. A technique that sounds bad to one person may sound great to another. It may be rediscovered, which is generally the case but you never know.

Yes, my equipment is state of the art, both vintage and up-to-date. Rather than list this equipment it is as important to have BIG EARS in all styles of music. Musical competence and passion, advanced technology, technical expertise and well trained ears is the combination I offer to faithfully capture the sounds conceived by the artist.

My rates are very reasonable and guaranteed to beat any other studios genuine prices. If you cannot afford my hourly rate then I am willing to negotiate terms as to what you can afford. Rather than watching the clock during the creative process I would much prefer to charge a fee per project even if it takes longer than first anticipated. From a pristine Acoustic Guitar recording to the thump of heavier music BIG EARS RECORDING STUDIOS will work to get it right.

Marcus Sturrock

On location recording available, we will come to you and record Solo acts, duo. Trio, Quartet and Orchestras.