Often the development and success of a studio, be it commercial or private, is directly linked to the strength of the personality behind it. Such is the case with Clubhouse Studios, based in the beautiful Hudson Valley region of New York State. Founded by engineer/producer Paul Antonell, it has grown from a small 16-track room to a full residential facility which hosts artists and producers ranging from Linda Ronstadt and Hall & Oates to George Massenberg and Neil Dorfsman. We caught up with Antonell to talk not only about his latest projects, but his hybrid use of analog hardware and Oxford software.

How did you get started in this business?

I got started in 1980, when I took over an analog 8-track studio, with a small client list, a couple of mics and no extra gear. Within a year, I bought my first console and an Ampex MM-1100 with 16 track heads.

That went on for three years, where I "cut my teeth." Then a sound company for an international tour hired me because I knew how to use a tape machine! After the "Gospel At Colonus" (with Morgan Freeman, Five Blind Boys Of Alabama, The Soul Stirrs, The Steel Singers, etc.), I moved from New York City upstate to Rhinebeck NY in 1986 and started The Clubhouse.

Now you've expanded into a full residential complex. How have you grown to this point?

Well I started by myself doing sessions and buying gear. By 1987, I'd upgraded to a 24 track JH-24 MCI and was getting quite busy. Being 100 miles north of NYC was tough, but I knew people would come. In 1991 I bought my Neve 8058 MKII desk, and called in Grammy-Award Winning engineer/producer John Holbrook (Brian Setzer, BB. King, Todd Rundgren) to help me with the acoustics of the new studio. The next year, Holbrook and I were working on "Tigerlily" with Natalie Merchant, and things started to get better.

Now we've evolved into a full-blown commercial facility with a 29'x 32' tracking room, 16' high ceilings, a large isolation booth, and the famous "library" booth, which emulates a real "English library" sound - complete with all shelves and shelves of books! We also have a nice vocal booth, two dedicated amp closets for live tracking situations, an EMT plate, AKG spring, and a classic echo chamber.

Even though you have a great analog console and tape machines, it's primarily fed by Pro Tools. Why is that?

We have to be able to share files with the outside world, and Pro Tools was the only solution. We still cut, and mix to analog tape, using Pro Tools as an "automated tape machine". Most of our clients will cut to analog, transfer over on playback and stay in Pro Tools until they mix. It works out great.

Do you prefer to combine the best of both worlds, mixing top-notch analog outboard gear and top-notch software plug-ins?

In today's economy, we need to work quickly and efficiently to deliver a project. I mix using a combination of analogue eq, compression, limiting along with digital eq, compression, and limiting.

Tell us about your use of Oxford plug-ins. Why do you turn to them?

Early last year I was recording the new Rusted Root record and found myself in the need of a de-esser that wouldn't change the quality of Michael Glabicky's voice which has a wonderful dynamic range.The Oxford SuprEsser worked perfectly. It fine tuned the sibilance without having any detrimental effect on the sound of Michael's voice. It has become a Clubhouse staple for me - as well as with all the outside engineers that come in here!

What are some of the recent projects you've used the Oxford plug-ins on and how were they applied?

I used the Dynamics and EQ on Natalie Merchant's upcoming record. I found them to be not only totally musical, but surgical - when needed. I used the GML EQ quite a bit to fix little things, without it changing the fundamental sound. I like it because it allowed me to keep things pretty organic. It's a nice piece of software.

Also, I just finished recording and mixing the new Beausoleil record "Alligator Purse", with special guests Natalie Merchant, John Sebastian, Garth Hudson, Jim Weider, Bill Keith, Roswell Rudd, Andy Stein, Happy, and Artie Traum. I found the Sonnox Oxford Dynamics and the EQ to be fantastic for that project, letting me make really smooth musical equalization choices. I also found the Dynamics helped make the music 'move', by not getting in the way of the sound. I especially liked it on Grammy Award Winner Michael Doucet's fiddle. Currently, I'm recording Tao Rodriguez-Seeger, who is actually Pete Seeger's grandson. I've even been able to use the SuprEsser on the lead vocal - while tracking! You gotta love it.

Interview and editorial provided by Rich Tozzoli<