Non-Profit Analog Recording Studio
Prism Analog is a not-for-profit, 100% analog recording studio. The only all-analog studio in upper New England. I have over $15,000 into the project but still need about $10,000 to open the doors!
Check out the writeups I have had in the local Portland Press Herald and nationally, on Reverb.com
My mission is to provide affordable tape-based production services to local and regional independent artists while giving back to the community by offering mentorships, internships, and, by underwriting local music-related non-profits.
I'm Nick, the Prism Analog founder/engineer. I have been in bands and performed engineering services in the digital and analog domains (for myself and others) dating back to my childhood. My dream has long been to create a space where artists can focus on their creative performance in a way that gives something to the community.
I am OVER HALFWAY to realizing this dream! I have sourced and procured some incredible gear and have begun setting up in a terrific space in Portland's hip and craft-friendly East Bayside neighborhood.
I have a beautiful 24-track 2" tape machine, a Studer A800 MKIII which has been thoroughly restored. This is the Rolls Royce of tape machines and dominated the high end studios of the 80's and 90's. In fact this very machine recorded "Siamese Dream" by Smashing Pumpkins when it lived at Triclops Studios in Marietta, GA.
In addition to the Studer, I have an Otari MTR-12 mixdown tape machine, a SoundWorkshop 34C mixing desk, and a nice variety of high quality microphones.
I have also, with the help of nearly a dozen local musicians, nearly completed construction of the studio control room!
But I'm out of money and need $10,000 to finish!
Remaining to do are: sonic abatement and reflection treatments, a few spools of cabling and connectors, mic stands, procuring some remaining outboard gear, and setting up a maintenance and repair fund and a few months' rent.
Prism Analog will produce music entirely in the "Analog Domain”— recording and mixing down to tape. This process dominated music production from the late 1950s through the 1990s.
It encourages a more “live” approach to studio work, favoring the well-rehearsed artist. Decisions need to be made in the moment that might otherwise be agonized over in post production.
Tape is expensive, whereas tracks and hard drive space are virtually an unlimited and free commodity in digital production. Limited tracks and tape encourages fewer "takes" and fewer overdubs. This encourages more planning ahead on the part of the engineer and the artist.
Track numbers are low, ranging from 2-24 tracks, and a curated stack of spatial, dynamic, and time-based analog effects are on hand to support our artists but not to overwhelm or confuse them.
Not least, tracking to tape is arguably the only way to guarantee a future-proof master recording, and the only way to preserve 100% of your sound.
Check out the Prism Analog blog to see what we've been up to in the past month or so!