Recording - October 2010 - 24
Let’s start at the beginning. Tell us about the basement! Jack Mouse: We loved the back entrance to the basement. It was just an unfinished basement, a cement floor, open beams, no walls, and an open basement stairway. We didn’t have to knock anything down or redo anything. We started from scratch. We were looking for a space where we could work simultaneously. By chance, Janice and I met designer Jessica Todd of Casa by Charleston in Naperville and had a quick meeting of the minds.
Did the designer understand what you wanted to achieve in the space? Janice Borla: I drew plans of what I wanted to do, and was totally floored when we got hers, hers and mine were almost identical. We were on the same wavelength in her sense of colors, sense of materials, as well as design.
Interview by Angela Bender Janice Borla and Jack Mouse have a variety of musical credits to their names, including recording numerous jazz CDs; they are founders of a vocal jazz camp, and both are pioneers in jazz education, currently on the faculty at North Central College in Naperville, Illinois, a suburb of Chicago. As a husband-andwife team they designed a basement to function as a place for writing, rehearsing and teaching, and as it turned out it became the place where they recorded Janice’s highly acclaimed CD From Every Angle. When they purchased the home, which sits by a pond in Naperville, the “English-style” walk-out basement (a basement that is only partially below ground) was unfinished. While they planned to make it into a place for their work, the ability to record there was never on their minds. Little did they know...—AB
24
RECORDING OCTOBER 2010
What structural work have you done and what special materials were needed to achieve this space? JB: Nothing structurally, and not much by way of acoustics. The 9-foot ceiling here is unusual and helps a bunch. The large windows and glass doors were a matter of convenience and not closing everything up. We wanted things compartmentalized, but we like the feeling of open space. We said early on that we wanted to be able to work simultaneously, so the designer used materials that enabled Jack to close his door and practice his drums and I could practice here and teach here without really interfering. JM: We weren’t thinking about a recording studio. We have a cork floor in the drum room and bamboo floor in much of the rest of the basement to contain sound. Drywall is a reflective surface, where as this (tile ceiling) is an absorbing surface, so it does help. The windows are double-paned. What made you decide that recording here would be a good idea?
Recording - October 2010
Table of Contents for the Digital Edition of Recording - October 2010
Recording - October 2010
Fade In
Contents
Talkback
Fast Forward
Cakewalk V-Studio 20
Abbey Road Sessions—Good Reasons To Be Prepared
AKG Perception 820 Tube Microphone
A Basement Conversion—The Borla/Mouse Basement Studio
DAW Details
SM Pro Audio P-Control, DiDock, and CT-3
Green Glue
Alesis PalmTrack
It’s Your Music—Know Your Rights. Chapter 7: Income Earned By Songs—Part 2
Reviewed and Revisited
Plug-In Outlet
Do It Yourself: Rack Panels For Under Four Dollars
Cockos REAPER—A Walking Tour
Recording’s Showcase of Sounds
Readers' Tapes
Advertiser Index
Fade Out
Recording - October 2010 - Recording - October 2010
Recording - October 2010 - Cover2
Recording - October 2010 - 1
Recording - October 2010 - Fade In
Recording - October 2010 - 3
Recording - October 2010 - Contents
Recording - October 2010 - 5
Recording - October 2010 - Talkback
Recording - October 2010 - 7
Recording - October 2010 - Fast Forward
Recording - October 2010 - 9
Recording - October 2010 - Cakewalk V-Studio 20
Recording - October 2010 - 11
Recording - October 2010 - 12
Recording - October 2010 - 13
Recording - October 2010 - Abbey Road Sessions—Good Reasons To Be Prepared
Recording - October 2010 - 15
Recording - October 2010 - 16
Recording - October 2010 - 17
Recording - October 2010 - 18
Recording - October 2010 - 19
Recording - October 2010 - 20
Recording - October 2010 - 21
Recording - October 2010 - AKG Perception 820 Tube Microphone
Recording - October 2010 - 23
Recording - October 2010 - A Basement Conversion—The Borla/Mouse Basement Studio
Recording - October 2010 - 25
Recording - October 2010 - 26
Recording - October 2010 - 27
Recording - October 2010 - DAW Details
Recording - October 2010 - 29
Recording - October 2010 - 30
Recording - October 2010 - 31
Recording - October 2010 - SM Pro Audio P-Control, DiDock, and CT-3
Recording - October 2010 - 33
Recording - October 2010 - Green Glue
Recording - October 2010 - 35
Recording - October 2010 - Alesis PalmTrack
Recording - October 2010 - 37
Recording - October 2010 - It’s Your Music—Know Your Rights. Chapter 7: Income Earned By Songs—Part 2
Recording - October 2010 - 39
Recording - October 2010 - 40
Recording - October 2010 - 41
Recording - October 2010 - Reviewed and Revisited
Recording - October 2010 - 43
Recording - October 2010 - Plug-In Outlet
Recording - October 2010 - 45
Recording - October 2010 - 46
Recording - October 2010 - 47
Recording - October 2010 - Do It Yourself: Rack Panels For Under Four Dollars
Recording - October 2010 - 49
Recording - October 2010 - 50
Recording - October 2010 - 51
Recording - October 2010 - 52
Recording - October 2010 - 53
Recording - October 2010 - 54
Recording - October 2010 - 55
Recording - October 2010 - Cockos REAPER—A Walking Tour
Recording - October 2010 - 57
Recording - October 2010 - 58
Recording - October 2010 - 59
Recording - October 2010 - 60
Recording - October 2010 - 61
Recording - October 2010 - Recording’s Showcase of Sounds
Recording - October 2010 - 63
Recording - October 2010 - Readers' Tapes
Recording - October 2010 - Advertiser Index
Recording - October 2010 - 66
Recording - October 2010 - 67
Recording - October 2010 - 68
Recording - October 2010 - 69
Recording - October 2010 - 70
Recording - October 2010 - 71
Recording - October 2010 - Fade Out
Recording - October 2010 - Cover3
Recording - October 2010 - Cover4
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