The Row Digital Studios - 01337 810426

Way Back When........

This being a professional musician takes its twists and turns. At first, which, for me, was 1980, it was understood, back in the days before digital compact equipment, that for a quality recording we would practice our songs then go into a proper studio. 

We'd lay down up to 24 tracks on 2" reels and have an well trained engineer mixdown to stereo before sending our music to a mastering house before being stamped ontointo 12" L.P. records.

It was a very exciting time. Our chests would puff with pride as the needle fell onto the outer edge of the white label test pressing.

The last time we heard the recordings it was through very powerful and tasty equipment. Even decent domestic equipment could not match up. However, after a few listens, we'd calm down and realise that those sound engineers really did know what they were doing.

It's a great feeling when the anxieties settle and you sit back honestly believing that you have managed to be up there with your favourites. (Please hear my track "Up There With 'Em")

Everything Changed

Analogue equipment got smaller. So, for a longish time we all used decent gear that was maybe OK but we had to work harder to get an acceptable result. 

That said, we did OK and most certainly left behind those who thought it was absolutely fine to throw out cheap and nasty cassettes. Selling sub-standard hissy recordings to adoring fans, at a massive profit, which lost many bona fide folk musicians the public trust.

Also, those who could afford to have this decent equipment were not necessarily great producers. We were kinda at their mercy. This situation worsened with the introduction of digital equipment. Yes there were still experts but often one would find themselves, again, at the mercy of "engineers" who were maybe not giving you exactly what you wanted. Could it be we could do better ourselves?

Well. With a bit of investment, we were able to give it a go.

In my case, I started with a Fostex 8 track recorder and Mackie Mixer. 

Without training I most certainly was not up there with the hardened pros. Not understanding Aux Sends, not really knowing about compression and where to maybe find our favourite effects that make all the difference.

After a few goes one starts to make sense.

The First Recordings That I Made...

Paul Hutchinson, one half of Belshazzar's Feast made a very long trip up to Glasgow with his pal Tony Harris. We sat around some decent microphones and laid a simple stereo track. It was "The Tinkerman's Daughter" which made it onto the "30 Years of Bromyard" CD back in 1997.

Having had difficulty with the technicalities of home studio multitracking, I thought I'd better read up on it. 

Oh boy! I was enjoying this whole concept and moved onto an Alesis ADAT 8 Track Recorder. It recorded onto professional standard VHS Tapes. What a machine! I still have it and, if I felt inclined, it would still make a stunning recording.

It did a great job on my only Traditional CD, "Hodden Grey", which was produced by Dr. Fred Freeman, who does not involve himself with anything less than sparkling recordings.

I read 15 reviews of this CD. They were all glowing. It seems I knew how to record.

Next was "To Be The Nation Again" for Coel Mor Records. This was another Dr. Fred production which met with mixed reviews. Fortunately for me, none of the down comments were recording related. 

I was now quite confident behind the sound desk and ever since I have recorded all my own albums in my own studio, which, by 1999 had become computer based. Good ol' Cubase.


My Studio Was Maturing

Yes. As time went by equipment would be upgraded. Pentium chips would increase their power. Sound modules and software would become better and cleverer. I finally went Apple Mac and upgraded all my mics and peripherals.

As more acts were using my studio I was gaining more and more experience.


I have now recorded numerous albums of my own and for other musicians/groups. I love it. 

I mainly prefer to record audio acoustic music and don't delve too much into MIDI although I have been known to with some success.


Where Am I Now?

It's now 2018. Two years after completing the mix of the latest Ian Bruce and Victor Besch album "Ain't That Pretty?"


It was recorded live in Germany and brought into my South Queensferry studio setup for mixing. You can hear the result on the "Ian Bruce Music" page. 

That gear has now been brought the new studio in Letham, Cupar, Fife. All ready to get working again. It's a fantastic setting. Conducive to relaxed recording. Outdoor decking for the coffee breaks in summer,which was well used during 2017's recording of "Auld Hat New Heids Vol 1"
What else do you need to know?


Computer - 

     2014 iMac with Mackie MCUPro Control Surface and Extender

Audio interface - 

      Apogee Ensemble Thunderbolt

Monitor speakers - 

      Genelec 1031a Active Monitors with matching bass unit.

      Neumann KH120A Active Monitors

Effects Unit -

      UAD2 Satellite Thunderbolt

Microphones - 

      SE Electronics Gemini and Gemini 11

      SE Electronics RNR1 Neve Ribbon Mic

      SE Electronics 4400a Matched Pair

      Rode NT2

      Rode NT4 Stereo Mic

      Rode NT5 Matched Pairs

      Shure Beta 87a

      Shure D112

      AKG C1000 S

      Of course there's the ubiquitous collection of SM 57 and 58s


There's a fine selection of hi end Headphones. Sony, Beyer, Shure, Sennheiser....


When not touring I love to record and produce. Please take a listen to some of the tracks I've recorded and give me a call if you think we could work together well.

So far 2018 has seen three projects emerge.

Christina Harrison - Pebbles From My Path

Jim Weatherston - Take Me Dancing

SairBanes - 4 Track Demo

Cover Design 

I design most of the covers that my recordings regale. 

Any contact for any reason can be made with the adjacent form. Please see contact page for phone numbers and email addresses.
I look forward to hearing from you.
Many thanks for your visit.
I will get back to you as soon as possible. Ian
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