• Rittenhouse Soundworks

Rittenhouse SoundWorks is a state of the art, multi room facility located in the historic Germantown district of Philadelphia. This turn of the century building, originally built by Chrysler, can accommodate all of your tracking needs, from full orchestras to voiceovers. Studio A’s live room is 74’ x 62’  with beautiful high wooden ceilings and equipped with skylights to provide clients with beautiful natural light. Studio A also features a Rupert Neve Designs 5088 console with a 1 inch otari 8 track as well as a Studer ¼ machine.  On the digital side, we employ IZ Technology’s RADAR Studio featuring state of the art D/A and A/D conversion, running Pro Tools and Harrison Mixbus.  Mixbus is a complete recording and mixing environment created in a partnership between Harrison, the inventor of the modern mixing console, and the Ardour digital audio workstation, which began here at Rittenhouse Soundworks over a decade ago. The studio is a beautiful combination of Digital and Analog solutions. It’s the perfect combination of old and new.

Studio B is our other custom designed control room, complete with a vocal booth and is a great environment to track or mix in.  This room provides an option for artists who may not need a large tracking room, but want an exceptional acoustic environment to work in.

 Our staff of exceptionally trained audio professionals will make your experience inspiring, and most importantly, productive.  Real experience has no substitute.

Gear List

The studio features a vintage API console circa 1974.

Mic Pre’s:

Chandler Limited Germanium 2 channel

D.W. Fearn VT-2

Fearn Vt-1 (2)

A.P.I 3124

ADL Neve 1073 (7)

True Systems precision 8 channel

UA 610 MKII (w/Telefunken nos. tubes)

Gap pre (w/Carnhill transformers) (2)

e.q.’s:

Pultec MEQ-5

Neve AML 1073  (7)

Rupert Neve Designs 551 (2)

TNC 1081

Warm Audio Pultec (2)

JDK R24 (2)

Asley sc-66 2 channel

Shure SR107 (2)

Urie filter set (2)

Urei 535 eq (2)

Kush Electra (2)

Fredenstein 605A (2)

Fredenstein 603B (2)

Dynamics: 

Neve AML 2254 compressors (2)

Tube Tech LCA 2B

Tube Tech CL-1A

Retro Stalevel

Drawmer DL-241

Drawmer 1960

Warm Audio 1176 (2)

Waves L2

A.P.I. 2500 Buss compressor

Rupert Neve designs Portico II buss compressor

DBX 163 (2)

DBX 463X

DBX 560 (2)

Distressor EL8X (2)

JBL 7105

Demeter VTC 2 (2)

 

Monitors:  

Amphion One18

Amphion Baseone 25

Amphion Amplification and Cabling

Auratones (Vintage Originals)

Genelec  1031 A Studio A

Genlec  1029-A w/ 1091 sub Studio B

Radar Studio Computing  running Pro Tools 10, Harrison MixBuss and Radar native.

Otari 8 track 1 inch

Studer ¼ mastering deck

 

Reverbs and Delays :

Echo Plate (Large)

Echo Plate (small)

Lexicon P.C.M 70

Eventide H9

Roland RE 150 SpaceEcho

 

 

Microphones: 

Flea M49

Neumann fet U-47 (2)

Neumann 147 (2)

Neumann KM-84 (4)

Neumann km-184

Neumann U89

Pearlman Tm1 (EF14 Tube)

Lauten Audio Oceanus

Coles 4038 (4)

RCA BK5B

Amperite FSH

Beyer M-160

Beyer 834 (2)

Sennheiser 421 (5)

Sennheiser 441 (2)

AKG  D12

AKG  D112 (2)

AKG 414 b-uls (2)

AKG 414 P48

AKG 414 EB

AKG 451 (2)

 

Shure sm7b

Electro Voice Re20

Shure KSM32

Shure Sm57 (6)

Shure Beta 58 (5)

Shure Sm58 (4)

EV 635A (4)

Instruments:

Sonor Phonic Circa 1984.

18 x 14 Bass drum

8 x 12 mounted tom

9 x 13 mounted tom

14 x 14 floor tom

18 x 16 floor tom

Phonic 5 3/4 x 14 snare

Signature 6 x 14 chrome snare drum

Rodgers circa 1976

22 x 14 bass drum

8 x 12 mounted tom

9 x 13 mounted tom

16 x 16 floor tom

Ludwig pre-serial number

22 x 14

9 x 13

5 1/2 x 14 supra phonic 1979

5 1/2 x 14 supra phonic baseball bat period

Slingerland 1963

22 x 14 bass drum

9 x 13 mounted tom

14 x 14 floor tom

Dave Smith Prophet 08

Roland Juno 106

Hammond C3 & Leslie 147

Lakewood M32 Acoustic

Takamine 12 string Acoustic

1972 Fender Precision Bass

Framus Renegade Custom

Martin 000c 16sgtne Nylon

Fender Telecaster Custom ’02

Fender Telecaster Thinline

Who We Are

Jim Hamilton

jim hamilton headshotJim Hamilton has been deeply involved with music for his entire life. His work as a drummer and percussionist has taken him all over the world including performances at the Grammeys, World Music Awards, MTV , BET and VH-1 Video Music Awards.  Along with appearances on David Letterman and Jay Leno.  During the 1990’s, he toured with such  legendary acts as Boyz II Men and Gerald Alston. After returning home to Philadelphia, he opened his own recording studio, which he operated for over fifteen years. During this time he toured Japan and Europe extensively with Ursula Rutker. On top of running his studio, he also became heavily involved in the Percussion scene in Philadelphia. He was a co-founding member of” Spoken Hand” and Alo Brasil. During his carrer he has recorded with a wide variety of artists including: John Blake, Oden Pope, Zakir Hussain, Dom Um Romao, Marshall Allen, Lee Smith, and Warren Smith. As a live performer he as shared the stage with Toni Braxton, Paul Winter, Jamaladeen Tacuma and Calvin Weston. Among others.

Peter Tramo

Peter-TramoPeter is a gifted engineer. From the time he was 14, Peter recognized his fascination for composition and recording. His first attempts came from the most modest of means, a Tascam PortaStudio. Since then, Peter has devoted his focus and energy to this art. He began his education at the Los Angeles Recording Workshop in North Hollywood, where he learned fundamentals of audio engineering and recording technology. Upon his return to Philadelphia, Peter immediately began working for Coyopa Productions and by 2005 he opened the doors to his first commercial recording studio, Olive Studios. At Olive, he continued his work in film and broadened his services to include album production for local artists of all genres.This studio would evolve into Lorelei Studio where Peter would compose the score for the award winning IMAX narrative, “Watermelon Magic” (Spring Garden Pictures) and where he would do the sound design and mix for the winner of the 2014 BlueSky Film Festival Award, “Love & Terror on the Howling Plains of Nowhere” (32.20 Productions). In recent years, he has been working closely with Tom Hamilton (American Babies, JRAD, Billy And The Kids) Co-writing and producing Tom’s work. His move to Rittenhouse SoundWorks represents the culmination of years of experience, merging his multidisciplinary approach with contemporary production values.

Jim Albert

Jim Albert Jim Albert started his musical career in 1978 at Mark Records Studio in Upstate NY. It was here that his foundation for classical and jazz recording was formed through working with groups such as ARS Nova and N.A.J.E.. These experiences would lead Jim to become the chief engineer Trackmaster Studio, now GCR Audio, in Buffalo. In addition to manning the recording console and recording artists such as  Goo Goo Dolls, Jim would also assist in redesigning and expanding the studio. Other duties while at Trackmaster included the recording jingles for many national  advertising campaigns. This work led Jim westward and to the position of Chief Engineer at Pantheon Studios in Phoenix. Pantheon was a unique environment, working with many producers from LA. Eventually, with encouragement from several producers, Jim moved to LA where he would stay for 25 years working with musicians such as Ray Charles, Motorhead, Motley Crue and Poison and for post production companies Todd-AO Soundelux and Wildfire Studios. Recent events have brought Jim back to put his skills to use at Rittenhouse Soundworks, helping Jim Hamilton further the studio’s capabilities and establish Rittenhouse Soundworks as the premier recording and arts facility in the Philadelphia area.