top (l-r): drums with Kevin Jarvis (John Wesley Hardin, Lucinda Williams) and D.J. Bonebrake (X).
bottom: (left) horns with Larry O. Williams (Little Richard, Ike & Tina, GAP Band) and Rahmlee Davis (Earth Wind and Fire, Michael Jackson) for Norman Kelsey's new album being completed here (pictured, center).
(right): Set up for a typical session at our funky garage studio. The main room measures 20' x 20'. The amount of space in the room, coupled with the amount of assorted junk on the walls absorbing the sound and the unique mic set up, gives stuff recorded here a big, live feeling without sacrificing clarity. There's no control room -- the engineer is right with the band (mixes and overdubs take place in another room). No down time for back and forth with a talkback mic. Sessions move fast.
THE BEST RECORDING VALUE IN LOS ANGELES:
8 hours: $185! • full band tracking including fat, punchy LIVE DRUMS
• 20' x 20' recording space for bands to record in a relaxed environment...
• most session playing and production services included in fee...
full song production available for singer/songwriters
• no baffles or control room walls...just great sound in a funky, fun room.
• NO MIDI or MELODYNE - old school organic recording and sound.
• producer/player with 13 full-lengths and credits with major artists.
You won't feel like you're in a studio...the tracks will just sound great.
to hear samples of our work, and get an overview, watch our PROMO VIDEO:
what is karma frog?
Karma Frog is my all-purpose home studio. Nearly anything music related gets done here, from simple vocal editing to complete album projects with REAL drums, authentic piano, organ and vintage keyboard sounds, perfect vocal edits, and session work on any basic rock instrument at no extra charge!
We also can now track live bands, including a fully mic'd kit, playing simultaneously. The 20' x 20' garage studio has great acoustics (large roomy sound with no reflectivity) and plenty of room for bands to play comfortably and together, without the separation of baffles or a control room wall.
who are you?
I'm Adam Marsland. I've worked with members of the Beach Boys, The Standells, Evie Sands, Trotsky Icepick, 2008 Tony Award Winner Stew, members of the legendary Wrecking Crew, and many, many others. I've produced or co-produced 13 full-length albums and had 100 original songs released, and I do session work on a variety of instruments. I've done literally everything connected with music, from fronting my own band to running my own label. Allmusic.com said it, not me: "There's little he can't do, and do well."
why is karma frog so inexpensive?
You're recording at my palatial tract home in Reseda. We record in Studio G (Garage) and Studio R (Room). If you want to get the "studio experience," hanging out in a plush booth, admiring racks of limiters, and waiting for the guitar player to finish his 20th take, Karma Frog is not for you. Here we get things done. Communication is instantaneous. It's a much more relaxed, spontaneous environment. We get the job done -- quick, easy and fun. No wasted time.
what kind of equipment do you have?
Ah, yes...the gear question! Every studio out there has a long list of just the right gear to bait their hook for prospective clients. Why do so many of them sound like crap?
So it doesn't sound like I'm ducking the question....here's what I've got: Preamps (UA 610, FMR Audio RNP, PreSonus AMAX, Mackie, Studio Projects VTB-1) Mics (AKG 414, Sennheiser 421 and 604, JoeMeek JM47a, MXL V67, Shure SM-57, plus our secret special drum overheads) Plugs (Massey + Waves Gold Bundle) Interface (ProTools 7.4 with 003/PreSonus) Instruments/Amps -- Too many to list, but a ton of vintage keyboards and keyboard simulators (including digital piano and digital Hammond organ), 12-string acoustic and electric guitars, Vox, Music Man, Mesa Boogie and Lunchbox amps...you get the picture. And don't forget our Magic Percussion Box.
Now that that's out of the way, the main question shouldn't be how much gear does a studio have. The question is does its recordings SOUND good? Don't get me wrong: a clean signal path is the basic building block to a great recording and to that end we rely on a few workhorses. But once you have that, it's down to knowing how to make a record, and what you point a mic at. Funny thing, they don't have a plug-in for that. A fart recorded through a Neumann U47 and a Neve console strip is still a very well-recorded fart. And if you don't print it correctly, it's not even that.
Gear-wise, what we DO have that most small studios do not have is real drums (and the ability to record EXCELLENT punchy, fat live drum tracks that consistently beat out the drum sounds at much larger studios), authentic vintage keyboards and keyboard sounds, as well as a range of guitars, percussion and amps. We are one of the cheapest rooms that can do live drums, and record full bands simultaneously, in Los Angeles, and for the price point, one of the best sounding ones, too.
We don't PROGRAM, we PLAY. Karma Frog is about getting the sounds of real people playing organic instruments...we will give you a much fuller, liver and classier-sounding master than a MIDI/sequencing studio ever could. Karma Frog specializes in an airy, roomy, analog sound but without the analog price or hassle.
how can such a small, cheap studio get such great sounds?
I've puzzled over this myself. I go into other studios with a huge board, and an intimidating wall of outboard gear that kicks the shit out of mine, and yet often their masters sound flat and lifeless and it takes forever to get anything done. Here, it's fast, easy, cheap, and it sounds great.
Here's my best answer: I've come to the conclusion that a lot of small studios buy a lot of pro gear to "salt the mine" and win over prospective customers. As I said above, YES, this stuff is important, but it's not the whole ballgame, and just about any studio has the building blocks of a great record in their arsenal. Sound design is tricky and you have to be able to tell when something just doesn't SOUND good, even if it's recorded through the best possible equipment. Moreover, if an engineer has twelve different condenser mics to choose from, and eight different preamps, he has to try out which one sounds best for you. Which is great...but who pays? You. If you have the money, and you have a really good engineer, that is a great way to go. I recommend it (and can suggest a few great studios for you to try). If you don't, well, it's wasted time.
Secondly, with the new recording technology, pretty much anyone can plug something into a box and run a few plug-ins and get something that sounds halfway decent. It's created a cottage industry of little digital studios. The only problem is everything tends to come out sounding pretty much the same, compressed and homogenized and flat, which is why people often crave the old "analog" sound. But the theory of analog recording isn't just about putting things to tape -- there were plenty of bad analog recordings in the old days. It's about being able to listen in the room, dial in your sound carefully and record something that sounds good -- so that your source material sounds great before you put a single plug-in on it. Sadly, because so many of the great engineers have been price-cut out of the market and so many of the new ones don't have much background in live sound design, this is becoming more and more of a lost art. Even though we're not an analog studio, people often say we sound like an analog studio, because we use the same old-school technique. You listen critically, dial it in, get something good on tape...THEN mess around with it.
I know how to get a good performance, and I know how to fix what isn't working. That should be true of any studio, but I've found it isn't. Without intuition, careful listening and the ability to think ahead, things tend to go astray.
Karma Frog is the ideal solution for people that want a product that approximates something that's done at a bigger studio, but simply can't afford it. It's also a great solution for people that have a song and an idea, but don't have the ability to flesh them out instrumentally...or a band that wants to capture its live sound on the cheap. I can do all that for you and even join in playing while I'm recording, all for one low fee.
why is Karma Frog more efficient than most small studios?
The simplest, fastest and best sounding way to record is simply to record a good performance. In the analog days, that often meant doing endless retakes -- but with digital recording, doing punches and edits is simple and easy. So these days, recording should be simple -- play it, identify what's not working, fix it, and you're done. Again, the trick is knowing what isn't working and how to solve the problem fast. That's what we do here.
What a lot of smaller digital studios do is go until you get a half-decent take and then edit the heck out of the thing. Wrong! A track with bad feel, bad tone, and bad time, will always cause problems in the mix, and editing a crap track takes forever. The trick to a great record is the same as it's always been: get a great performance, and stick a mic in front of it.
What's with the 8 hour block deal?
When I work for you, I know that you're paying me by the hour. I'm there to help you make a great record however you want to make it...fast and easy, or slow and methodical.
The 8 hour rate can be spread over any number of days/sessions and includes my own services as a session musician or singer (I charge $25 an hour for smaller blocks of time). I mark the time in 10th of an hour increments. If I make a major mistake that disrupts the session, I deduct the time. Not only will you get your work done faster here, for less money, but you will get more productive time for what you pay. I also don't sweat the small stuff if you don't want me to. If you want me to go through and clean up every edit, I will. If you want to just get out of there and not pay for an extra hour of clean-up, I'll make it work.
can I record a whole album at Karma Frog?
Absolutely! We can do the entire recording here, and we can also arrange for A-list engineers to do post-production, mastering and also for glass-mastered replication (if you do a physical CD) at a reduced cost, to make sure you get the best possible master. We even have a nationally-distributed record label at our disposal.
can you record full bands at Karma Frog?
YES. Karma Frog has recently upgraded the number of inputs, mics, and mic pres to comfortably accommodate a full live band playing simultaneously. The 20' x 20' garage studio space has ample room for bands to spread out, turn up, and play together...plus great acoustics that give you a live rock sound without reflectivity to screw up the clarity of the final mix. Bring your whole band and track live, or combine your musicians with my session service (included in the price) to get the most bang for your recording buck!
I'm a singer/songwriter. I'd like to record an album but I need help with the arrangements and backing musicians. Can you help?
Absolutely! Karma Frog is perfect for you. Bring in your songs and yourself. We can do the rest for you...arranging, session work, backing vocals. NOT PROGRAMMING a cheesy-sounding synth...playing! In most cases, it will all be included in the studio fee! Whatever else we need to realize your ideas, we can get for you at a low cost.
what about session players, songs-for-hire, drum tracking?
YES! We can do nearly everything music-related at Karma Frog. My own session services as a guitarist, keyboardist and vocalist (and I can also track bass and drums if necessary) are INCLUDED in the already low rate! As a musician, I work just as fast...averaging around 45 minutes per finished track! I also have access to some of the best session musicians in L.A.
what if I need something done at a bigger studio, or want to work on the tracks at home? Can I take the tracks with me?
Absolutely. You paid for the time, the recording is yours. Bring a hard drive, and I'll copy it over, and do whatever you like. If you need more than what I offer, I can refer you to some of the engineer/producers that taught me what I know. They are superb and I can often negotiate a good rate for you. Ask me also about flat rates for songs-for-hire, sessions-by-mail and longer projects that I can do on my own time.
are you going to dominate the session? Will my ideas be heard?
Look...you are paying me to do work for you. My job is to get you the best possible product and make you happy. I get satisfaction out of doing good work and knowing the client is satisfied.
I will produce you as much or as little as you want to be produced...but most of my clients have found that when I direct the flow of the session, it gets done faster and they're happier with the results. But it's totally up to you. It's all about time and quality to me. My ego is not about making you do things my way. It's about getting a great result in the best and most efficient way possible.
I have some more questions. How can I reach you?
Cool! Shoot me an e-mail at cockeyedghost@gmail.com. Or hit me up on Facebook. Tell me about your project, and we'll make it happen.
--Adam Marsland
testimonials
"The final mixes Adam delivered sounded almost mastered....pro-level work." --Earle Mankey, mastering and recording engineer (Beach Boys, Concrete Blonde, Sparks, David Gray, Cramps, etc.)
"Adam knows what he's doing, and more importantly, he loves what he's doing, and his enthusiasm for the process of making a record can bring out the absolute best in any project a writer or performer might come in the door with. This is no fly-by-night, paint-by-numbers demo studio.... really!" -- Alan Boyd (Producer ,Beach Boys' The SMILE Sessions)
"Watch out for this guy...he's scary." -- Don Randi, legendary session musician (Elvis Presley, Wrecking Crew, Monkees, Everly Brothers, Tim Buckley, etc.)
"Recording my debut solo album with Adam Marsland far surpassed my expectations going in. He has the amazing ability to take your demos and then literally and single handedly making them album quality that equals, no, surpasses studios I have used that cost 6 times more. His vast knowledge, experience, musical intuition, and easy going personality sets the ideal tone for making your musical dreams come to life." -- Adam Exler (client)
"Adam is the real deal and if you need a killer recording on a budget...there is no one better." -- The Issue (clients)
"The results have been breathtaking and gratifying." -- Norman Kelsey (client)
references
Partial list of musicians and clients that have recorded at Karma Frog:
D.J. Bonebrake (X)
Rahmlee Davis (Earth Wind and Fire, Michael Jackson, Phil collins)
Devry University/Becker CPA Review
Miller Duvall
Adam Exler
Probyn Gregory (Brian Wilson Band)
The Issue
J.C. Gafford
Jimmy Golding
Harold Honey
Kevin Jarvis (Lucinda Williams, John Wesley Harding)
Larry O. Williams (Little Richard, Ike & Tina, GAP Band)
Below is a partial list of people I have performed with onstage or in studio:
Davie Allan
The Andersons
Derrick Anderson (Bangles)
Chuck Berghofer
Marty Beller (Ivy)
Joe Berardi
Cindy Lee Berryhill
Gary Black (Four Seasons)
Hal Blaine (Wrecking Crew)
D.J. Bonebrake (X)
Adrian Bourgeois
Alan Boyd
Nelson Bragg (Brian Wilson)
Shawn Bryant
Carl Byron
Kristi Callan (Wednesday Week, Lucky)
Anny Celsi
Jerry Cole (Wrecking Crew)
Paul Collins
Counting Crows
Michael des Barres
Mark Doten
The Droppers
Carolyn Edwards
Jon E. Edwards
Adam Exler
Extra
Bobby Figueroa (Beach Boys/Brian Wilson)
Julia Fordham
Good Vibrations (Beach Boys Tribute)
Gary Griffin (Beach Boys/Brian Wilson)
Probyn Gregory (Brian Wilson)
Pete Ham (posthumously, lead singer of Badfinger)
Al Jardine (Beach Boys)
Billy Hinsche (Beach Boys/Brian Wilson)
The Honeys
The Icons Band
Susan James
Dan Janisch
Kjehl Johanson (Urinals)
Severo Jornacion (Smithereens)
Bill Korecky (Mushroomhead)
Paul Lacques (Bonedaddies, I See Hawks In L.A.)
Martin Luther Lennon
Earle Mankey (Sparks, Concrete Blonde)
David Marks (Beach Boys)
Craig McIntyre (Josh Groban)
Jeff Merchant
Rich McCulley
Eddie Munoz (Plimsouls)
Kaz Murphy
Brent Muskat (Faster Pussycat)
Lisa Mychols
Toby Myers (John Cougar Mellencamp)
The Negro Problem
New Maximum Donkey
Joe Nolte (The Last)
Paranoid Lovesick
Taras Prodaniuk (Dwight Yoakum, Lucinda Williams)
Don Randi (Elvis Presley, Wrecking Crew)
Stan Ridgway
Evie Sands
The Shells
The Standells
Sara Stanley
Jon Skibic (Gigolo Aunts)
Joe Skyward (Posies)
Stew (2008 Tony Award Winner)
Surfin' Safari (Beach Boys Tribute)
Matthew Sweet
Trotsky Icepick
Brian Whelan
Brian Wilson
Carnie Wilson
Wendy Wilson
Wondermints
Brian Young (Fountains of Wayne)
