Glide On Fade is housed on a multi acre estate nestled in the mountains of New Jersey 33 miles from downtown NYC. The location offers a quiet retreat from the world where you can sit and focus and create without distraction. The studio borders a state park in a less traveled part of town. The walk out behind the studio into the park is about four hours before you hit a road if you walk in the right direction, perfect for clearing your head when the burnout sets in. Wildlife spotted on the property includes deer, black bear, coyote, raccoon, skunk, opossum, groundhog, squirrel, one red fox a long time ago and one of the neighbors has an orange cat which likes to hang out back quite a bit.

What this place isn't is a commercial recording studio bustling with activity, competing ego and industry BS. This is a single room facility, there will never be more than one client present on the property at any given time. It's a studio designed so you can relax, not be disturbed, and get things done. The driveway is large enough to park a Vanhool tour bus, there is a large kitchen, room to sleep more than a whole band and in the summer, a swimming pool and a hot tub. It can be a pretty good rock and roll oasis if you let it.

I've thought many times of moving the studio to a dedicated commercial building, and while the advantages of that scenario are great, this location has a vibe to offer that a commercial room never could. Some of my favorite albums of all time have been recorded in houses, (Led Zeppelin 4, Houses of the Holy, Physical Graffiti, Blood Sugar Sex Magic, Spine Of God, Desert Sessions One, to name a few), so sticking with this setup seems to be the right thing for now. More important than my ideal of this place is what it actually is: proven. The studio sounds great. The work that comes out of here sounds great. It's a fun place to be. It's an easy place to work. This is the kind of place where you can buy five days of food and not step off the property for those five days and have a great time and make a great record and not feel like a prisoner in the process.

When I designed the place, I tried to split the difference between needing a mobile truck to record in an empty house and having no real isolation and that of a full on purpose designed commercial space. I settled upon a modest control room with two isolation spaces (one large enough to cram a whole band in) and a third large open space all sharing the same floor. Since all the slab level studios I had been in seemed to have a "something" that above slab studios were lacking, the studio is built into the slab level and the rest of the house is free of recording gear leaving for creative use of the space when needed. You don't feel like you are in a stuffy studio compound yet you also don't feel like you are pioneering on a cold empty space either. So far it has been a good balancing act between those two worlds.

Acoustically speaking, there is a wide palette of sonic options. In the studio, I stuck with exposed concrete for that thing it does, not quite live, not quite dead. The main recording space is fairly dead and its super easy to get a nice tight sounding drum kit happening in there. The larger space is a tad more "live" sounding but its simply "bigger" sounding rather than more reflective. There is a totally dead booth for voice over and there is an open two story space in case you need to get a "When The Levee Breaks" sound around your drum kit, which frankly, is a realistic expectation in that space. Not a bad palette of options for a single control room facility.

I deal with all bookings directly, don't hesitate to contact me with any questions.