Rodger Carter is one of the rare Los Angeles natives working full-time in the music industry. He began his life in professional music by playing club shows on the Sunset Strip at just 14-years-old. A drummer by trade, steady studio work and touring soon followed, hitting the road with Lita Ford at age 21 for his first national tour.
Rodger’s powerful and consistent style has always kept him working in one of the most competitive cities for music in the world. He’s worked both on the road and in the studio with artists like John 5, Berlin, John Waite, Justin Guarini, Eddie Money, Meredith Brooks, Evan & Jaron, Lisa Loeb, and Lita Ford.
In 2002, Rodger opened The Doghouse Studio in LA which has been a hotspot for talent for nearly two decades. Rodger originally intended to build a glorified jam room for him and his musician friends. But when Rick Springfield (for whom Rodger drums) saw the build in progress, he offered to buy all of the equipment necessary to make it a full-blown recording facility, dubbed The Doghouse.
When Rodger is not running Doghouse Studio he is frequently on the road touring internationally with Rick Springfield, though he’s given himself more time off-stage over the last few years.
Doghouse plays host to a huge variety of artists—anything from the heaviest industrial metal to jazz has been recorded and mixed at the studio. Rodger plays on plenty of drum sessions, but he also rents the studio out for people who just want to use the space with their own personnel.
As the owner of Doghouse, he has three first-call engineers on staff so he doesn’t have to worry about engineering himself. He can focus on being a session drummer and studio owner first and foremost.
For the most part, he’s chosen a wide variety of different equipment so his engineers have options and can choose their own preference. You can see how he’s set things up in the studio tour below!
We hope you enjoy this conversation and tour of Doghouse Studio with the amazing Rodger Carter!
A complete transcription of the interview can be found below:
Warren Huart:
Hi everybody. Hope you’re doing marvelously well. Sitting here with my friend Roger Carter. How are you?
Rodger Carter:
Welcome.
Warren Huart:
We’re at The Doghouse Studios.
Rodger Carter:
Yes, sir.
Warren Huart:
Which I have been to a couple of times before.
Rodger Carter:
It’s been a while, but yeah, you were here.
Warren Huart:
Yep, and our mutual friend, Brad, works here with you, which is-
Rodger Carter:
Brad Cook.
Warren Huart:
I’d love to know a little bit about your journey, how you end up here, because this is an incredible studio. We’ll do a little bit of a tour and we can talk drums and drum recording.
Rodger Carter:
Well, the history of it is that this was kind of an accident, believe it or not, this… I was building a glorified jam room to have my friends over to jam. That was the idea. At the time, I was touring with Rick Springfield of all people.
Warren Huart:
Rick’s amazing. We love Rick.
Rodger Carter:
Yeah, I was with him. I was in his band for like 14 years, and one day Rick comes over when the construction was still happening and he’s looking around. We go out to lunch and he says, “Why don’t we build a recording studio? You finish the construction and I’ll buy all the gear,” meaning he’ll buy all the gear. And I figured, “Okay, that’s a good deal.” He’ll make a record, then I won’t see him in there for two more years, then he’ll make another record. So, that’s what we did, but I couldn’t get rid of him. I mean, this turned into the clubhouse. It was either a record, or ringtones, or re-editing videos, I mean… And I love the guy, but it was too much, so I actually kicked him out. He didn’t fire me as his drummer, and there’s actually… In his biography, there’s even a page dedicated to how I kicked him out and he didn’t give me the ax, which is pretty funny.
Warren Huart:
Rick is an incredibly classy guy.
Rodger Carter:
He’s awesome. Best guy I’ve worked for, best guy by far.
Warren Huart:
We do tons of stuff with him. We just finished mixing a song for him, Saturday. For those that don’t know, he’s insanely talented.
Rodger Carter:
Yeah.
Warren Huart:
I mean he’s a great guitar player, great singer, and then when the first album we mixed of his-
Rodger Carter:
Songwriter.
Warren Huart:
I was like, “Who did you co-write with?” And his manager’s like, “He didn’t co-write any of these songs.”
Rodger Carter:
Yeah.
Warren Huart:
Yeah.
Rodger Carter:
Great songwriter.
Warren Huart:
Great songwriter.
Rodger Carter:
I think that’s his strong… Well, and a performer, but I think a songwriter is definitely his strong suit. We did a bunch of records. I think I must’ve played on six or seven records over the years.
Warren Huart:
So how did you get there? How did you get the gig? How did you… Tell us. Give us a little bit of history.
Rodger Carter:
With Rick?
Warren Huart:
Well no, in general. I mean, where are you from?
Rodger Carter:
I’m from here. I’m one of the rare birds that’s born.
Warren Huart:
Oh, you’re an L.A. native?
Rodger Carter:
Yeah, I was born in Santa Monica. Local bands, when I was a teenager. I was playing the clubs when I was like 15, or 14 even. My first real gig was with Lita Ford, if you remember her.
Warren Huart:
Of course. I’ve recorded Lita, too.
Rodger Carter:
Yeah, yeah.
Warren Huart:
She’s great.
Rodger Carter:
She’s awesome. She’s like a sister. It was an audition, and I remember after the audition we went to Casa Vega and she said, “I like your drumming, but your drum sounded like shit.” Literally. I mean, I’m quoting her. She handed me a phone number, which turned out to be Myron Grombacher’s phone number. I had never met Myron. I was a fan of his, but even him not knowing me, he loaned me drums. I went and met him. He’s like, “Yeah, take these drums. Go record. Blah, blah, blah.” And we started… My first recording with her was Sunset Towers under EMI. There was a recording studio in the basement there.
Warren Huart:
Did you tour with her?
Rodger Carter:
Yeah, we did some records, did a bunch of playing live. When I got that gig I was 21 years old, and Nirvana… The whole music scene changed because Nirvana came out, and so it kind of put a lot of these people out of business. So, I had to jump ship and keep working, but I managed to do it somehow. I mean, pretty much nonstop tutoring until this last couple of years. I’m trying to slow it down a little bit.
Warren Huart:
So who was often Lita? What was your next gig?
Rodger Carter:
What was next? I think Berlin. Remember Berlin?
Warren Huart:
Of course, yeah.
Rodger Carter:
It’s kind of a blur. The Berlin thing, a bass player friend of mine was doing it, Lance Morrison. I don’t know if you know Lance. Great bass player. Plays with Don Henley. Lance called me and I went, and I got the gig. Funny enough is after being a year and the band with Lance, she replaced him with prerecorded tracks.
Rodger Carter:
So then, I was running the bass player from my little… not Adap. What was after Adap? at that?
Warren Huart:
Well, there was a DA ATS.
Rodger Carter:
There you go.
Warren Huart:
They were task cams, and they were at the same time.
Rodger Carter:
That’s what I was running. That’s what I was running, lugging all those big machines around, and the controllers that had location points. So if they change the set around, you could jump to the…
Warren Huart:
What was next after Berlin?
Rodger Carter:
The whole Liz Phair, female singer-songwriter thing was happening, and I went from… Well we spoke about it. Leah Andreone’s gig. We did that tour for a couple of years, and then a Meredith Brooks.
Warren Huart:
Oh, yeah.
Rodger Carter:
I don’t know if you remember Meredith. We did that. That was interesting because her song was like in the top 10 before the band was even put together.
Warren Huart:
Right.
Rodger Carter:
That thing just came out of the shoot and-
Warren Huart:
She and Shelly wrote that, Shelly Peiken wrote that together.
Rodger Carter:
Is that right?
Warren Huart:
Yeah.
Rodger Carter:
I didn’t know. So yeah, I always landed on my feet. A tour would be over, and within a couple months I was on something else, which was the plan. Even when they were building this, I wanted to take some time off from touring so I could be here for the construction, but there’s that pesky thing about a paycheck where you have to keep working.
Warren Huart:
I hear you.
Rodger Carter:
So, I jumped out with Eddie Money, of all people, while they were building this. But because it was a weekend gig, I could fly out, you go do a couple gigs, and come back and make sure the construction was going the way you wanted it to go.
Warren Huart:
So now you’re not playing live as much?
Rodger Carter:
I haven’t been. I had a friend of mine, John 5, he’s a guitar player, we do the records here. So, I was touring with him for a while, and then I decided I wanted to work in the studio more and really concentrate on that. But recently, I jumped on a John Waite… I don’t know if you remember him.
Warren Huart:
Of course.
Rodger Carter:
Great singer-songwriter.
Warren Huart:
I know him very well.
Rodger Carter:
What a gift. I mean, he sounds better now, I think, than ever. I mean, there’s a little more rasp and he’s way more bluesy.
Warren Huart:
England was a blues rock band, so he definitely came from area.
Rodger Carter:
That’s what he says. Yeah. It’s not like he’s taking care of his voice. I mean, he smoke and drank his way through all of it and he sounds amazing, man.
Warren Huart:
That’s fantastic. So now, are you’re doing sessions here?
Rodger Carter:
I’m doing a lot of drum sessions, some of them where I get the files through the internet. I don’t meet the people. Not as much as you’d think. Most of the people still come to the studio, and so I’m doing a lot of that. A lot of people just come in and use the studio and I have nothing to do with it.
Warren Huart:
Great.
Rodger Carter:
There was a lot of that. They’ve made some really great records here, a bunch of… I don’t know what it means anymore, but a bunch of Grammy nominated stuff, and bragging rights I suppose. It’s everything. It’s everything from real heavy industrial stuff down to full-on legit jazz. The Tierney Sutton Band, she did her last couple of records here, and that blows me away. They were in here, and there was a sound coming through the speakers that I didn’t recognize, and it was a sheet. It was charts. It was paper.
Warren Huart:
Yeah.
Rodger Carter:
I never heard the… Rock guys, you don’t know that sound. Yeah, yeah, yeah. They did that and that was great to see those guys work. They show up. They read the chart down, and boom, that’s the keeper.
Warren Huart:
Let’s take a little bit of a look in this beautiful studio of yours.
Warren Huart:
So what I love about what we were talking about earlier is that as you were saying, you’re the drummer and the studio owner, so you have like three different first call-
Rodger Carter:
And the janitor, also.
Warren Huart:
The janitor.
Rodger Carter:
I’m a maintenance man, yeah.
Warren Huart:
But you have three first call engineers.
Rodger Carter:
I do.
Warren Huart:
You own the gear and have chosen the gear, but you don’t run it every day. You have an engineer because you’re out there playing.
Rodger Carter:
Right, right. Yeah.
Warren Huart:
But let’s have a quick look at what you’ve got. This is like the classic L.A. setup, isn’t it? The 1032 with the NS10’s.
Rodger Carter:
We’ve gone through these a bunch. We keep replacing those just to keep them fresh cause they get so much mileage, but they’ve done us right. No problems over the years.
Warren Huart:
Some of Mark’s stuff, of course. We love this, some BAE.
Rodger Carter:
Yep.
Warren Huart:
Which is wonderful. And I presume… Well it’s all BAE because you’ve got a 1073’s you’ve got…
Rodger Carter:
Well that’s where I met Mark too, is when it was Brent Admiral’s place in Sherman Oaks. That’s when I bought the first batch, and then we only became friends and like 10 years after that, but yeah.
Warren Huart:
I did the same thing. I bought the products, loved the products, then got to know him afterwards.
Rodger Carter:
Yeah.
Warren Huart:
I think he’s a better endorsement than the other way around, isn’t it?
Rodger Carter:
Yeah. And I even play on his… He’s a guitar player/writer too, so I play on his stuff, and then he brings over a new mic pre like this… Like this one right her, this 312.
Warren Huart:
Oh, yeah. One of the brown ones.
Rodger Carter:
Which I think he made for… I think Kenny Aronoff was in his mind when he made this for snare, and he goes… He laid that on me. It’s great. We use it on the snare all the time.
Warren Huart:
I have a pair. I love them.
Rodger Carter:
Yeah. All right, cool.
Warren Huart:
So you’ve got 1073s, 1023s, 312s and then a couple of 550a EQ’s, and a 560, and 500b, nice. Some Manley… I don’t know if you have a preference on any of this stuff. You just give choice to the different engineers and they choose what they love.
Rodger Carter:
Pretty much. Pretty much. When I get a drum sound that I dig, I usually take photos. I have a whole album on the computer of different drum sounds because we’d be doing something heavy and it’s one sound, and then like I was telling you, we did a Glen Campbell record where it’s a whole different thing. I love the way the drums came out, so I just keep taking photos. I don’t know if that pisses off the engineers.
Warren Huart:
No, no, no. We love that.
Rodger Carter:
Some of them are kind of like… They’re huddled over. they don’t want… But most guys are cool with me checking it out.
Warren Huart:
I love this Universal Audio piece here. I’ve actually not used this before, but I see… So it’s four mic pre’s, but it’s also got a digital… It’s also a digital interface, which is really cool. I haven’t used one of those, but that looks really cool. Then you have the control surface.
Rodger Carter:
Yeah, I know it’s like a glorified mouse, but I think the people that come in, like the paying customers, they want to have their hands on faders.
Warren Huart:
A pair of Distressors.
Rodger Carter:
Yep.
Warren Huart:
Great, go-to, a purple 1176, or called the MC76, which is wonderful. LA2A. And then I see you have a headphone distribution from Dangerous.
Rodger Carter:
I think the Dangerous is just for monitoring in here, at least that’s what we’re using it for.
Warren Huart:
No, that makes sense.
Rodger Carter:
Yeah.
Warren Huart:
Yep, that makes sense. Well this check out the live room. This is the bit that gets exciting because this is really a drummer’s paradise. So is this your main recording kit you’ve got up here? The DW?
Rodger Carter:
Yeah, I mean, yeah. This is the one I kind of leave set up most of the time. Yeah, I’ve just learned how to change the cymbals out, and the drum heads, and tune them where I can get pretty much any style of music I need to play out of this drum set, and there’s other pieces up there, like smaller bass drums and stuff like that.
Warren Huart:
Wonderful snare collection. Do you have any favorites you can point us to?
Rodger Carter:
I always have to say I love DW. I’ve been with them for over 25 years, so I love their drums. That 15 inch snare is great for ballads.
Warren Huart:
This one here?
Rodger Carter:
Yeah. They made me that Lakers drum when the Lakers were really great in the, what was that? Late nineties. They made me that. That black beauty though gets a lot of-
Warren Huart:
This one here with the beautiful engraving on it?
Rodger Carter:
I got that in England, actually. Some guy was selling it out of his van and I got a good deal.
Warren Huart:
I’ll have a quick look at this. Is this the Shure?
Rodger Carter:
Yeah.
Warren Huart:
The Beta 52.
Rodger Carter:
And that inner mic on the Kelly SHU suspension system, that just goes to my seat for a thumper. That has nothing to do with the recording, although we have switched it out where we use that as a mic to record, but basically that’s just going to the seat.
Warren Huart:
Oh, so it’s the same mic. It’s another Beta 52. Oh that’s… So you’ve got a thumper on the seat? That’s great.
Rodger Carter:
Yeah. Just once you start getting used to playing with it, you don’t want to let it go. And then this is that platform by Auralex, to keep all the low end without having it disappear.
Warren Huart:
Great.
Rodger Carter:
The floors floated on those rubber U-boats, I guess they call them. And in between that is all sand. When it was all done, Vincent van Hoff… We had Vincent come down, and I thought in the control room… I was thinking the skylights will be great, and the sun will come in. It was like the wrong thing to do in the control room, so he built that hood. I don’t know if you guys saw that, that frequency director, and all the bass traps are from Vincent.
Warren Huart:
Great.
Rodger Carter:
So he got the room sounding real great, all these clouds that he put up.
Warren Huart:
Fantastic.
Rodger Carter:
And then Steve Brandon… Coco? So he basically tuned the room, the speakers, and put a white EQ in. He said, “Don’t move these speakers.” So we actually drilled little wood things to hold the speakers so that can’t be moved now.
Warren Huart:
The AKGs for overheads, are those 414s?
Rodger Carter:
Yeah, 414s.
Warren Huart:
Great. What’s this you’ve got for a hat here? Is that an AKG? Oh yeah, 451..
Rodger Carter:
We use the Earthworks for room mics.
Warren Huart:
Oh, I see. And those are permanently up as well?
Rodger Carter:
Yeah, I mean, and they’re directed…
Warren Huart:
At the wall, yeah?
Rodger Carter:
Yeah, at the all. It kind of gets… I use the 87 as a just overall drum kit mic, sort of in the middle.
Warren Huart:
Okay.
Rodger Carter:
And sometimes we put a crappy mic behind me. I don’t know what they use, but just something that kind of gets everything, that’s cheap and sounds distorted.
Warren Huart:
Wonderful.
Rodger Carter:
Yeah. Some guy came and brought this Hindenburg mic the other day.
Warren Huart:
I know, I was looking at it.
Rodger Carter:
3P microphone. He just brought it like a couple of days ago. I haven’t even had a chance to use it, but he demoed it with some headphones to me. Denny Fongheiser sent him over for a studio demo.
Warren Huart:
Oh, Denny’s wonderful. What a great drummer.
Rodger Carter:
And I was listening to it. I mean, if it’s anything like what he was playing me in the headphones, man, it’s going to be fun. It’s going to be a fun mic to use.
Warren Huart:
I love that it’s called a Hindenburg.
Rodger Carter:
No, that’s what I call it. He likes it though. He might steal that from me.
Warren Huart:
It’s great.
Rodger Carter:
Or, a Goodyear, something, I don’t know.
Warren Huart:
Well you could just call it the Led Zeppelin. I see you have a little side snare, here.
Rodger Carter:
Yeah, I just usually put a 57 on that.
Warren Huart:
Yep. What I like… So you’ve got a 451 and a 57 taped together here.
Rodger Carter:
The trick with that is, is that I don’t want to be dropping all these names on you. Watch your feet. But Ross Hogarth came over. He’s a good friend. He got me a killer drum sound, and that’s kind of the what he had going on mic-wise on the snare. So I found that clip, and that’s kind of… I’m sure he could still do better than we can try, but we’re emulating Ross’s set up on that.
Warren Huart:
Great. So 57, 451, then what’s this underneath? Oh, another one under here. Condenser for underneath the snare. And then I see you’ve got the Shure Beta’s on the toms.
Rodger Carter:
Not always. A lot of times we’ll use the-
Warren Huart:
421s?
Rodger Carter:
Yeah. So this is one of the isolation rooms here. Come on in. Obviously vocals, but I’ve even put like a two-piece drum kit in here before.
Warren Huart:
Great.
Rodger Carter:
The isolation is pretty darn good. I mean, if it’s a loud metal band, that’s not going to work out, but normal volumes, this is great. This did the trick. Double glass doors.
Warren Huart:
Did you have other places you can isolate as well?
Rodger Carter:
I have one more room. I’ll show you guys. It’s a… We got to enter it from a different direction.
Warren Huart:
Oh, this is cool.
Rodger Carter:
So yeah, I just built this about a year ago with my cousin. I’ll never do that again. It almost killed me. We waited until July. July in Woodland Hills is a little hot, but it’s great for leaving the cabinet. We could put a person here if we had to. I put a/c in, and talk back, and can do video and all that. Mostly it’s cabinets, leaving the cabinets in here.
Warren Huart:
One of Lita’s.
Rodger Carter:
Yeah, she left that here for me.
Warren Huart:
Nice. Oh, you’ve got some speakers in here. So do you use it as like a little echo chamber as well?
Rodger Carter:
Not yet. We’re still trying to dial this room in, but we’re using that for keyboards and electric drones, actually.
Warren Huart:
Nice.
Rodger Carter:
So you could wail on in here and not bother anybody. I mean, it sounds great. I’m not sure which way to put the amps yet. We’re still trying to figure it out, but-
Warren Huart:
Cool.
Rodger Carter:
Just trying to make use of space and we needed another room, so yeah.
Warren Huart:
That was a good idea to have this separate with the amp racks and everything like that.
Rodger Carter:
Yeah. This is the exterior of the studio, and this was a dog run, and I consulted with my dogs and they were cool with me building on their property.
Warren Huart:
So let’s listen to some stuff that you’ve recorded here.
Rodger Carter:
Yeah. This has all been done here, and the drum sound is really what I wanted you guys to check out. So this is a more of a big boomy kind of thing. Big large, huge drums.
Speaker 3:
Lady luck and a four leaf clover. Won’t be as hurt as I feel all over.
Warren Huart:
I’ve recorded a cover of this song, too.
Rodger Carter:
Yeah, this is the Temptations.
Warren Huart:
Yep.
Speaker 3:
Until you leave in depth the situation. Well I’m standing on shakey ground, ever since you put me down.
Warren Huart:
Amazing.
Rodger Carter:
The coolest thing about that, I mean other than having them here, when they sang, they all sing together around the mic, old school. And then we would say something like, “The low guy, is a little loud,” and they’d say, “Don’t touch anything.” And he would take half a step back. Like, they can mix themselves where they’re standing. That’s how long…
Warren Huart:
That’s incredible.
Rodger Carter:
I mean they’ve been doing it for what, 50 something years? So there was that. But here’s a completely different drum sound, more of a country, a small kind of sound.
Warren Huart:
I love this song. When did you do this?
Rodger Carter:
Second to last album we did, so when was that? Like eight years ago maybe?
Speaker 4:
And I drive the main roads. Searching in the sun for a…
Rodger Carter:
Same drum set.
Warren Huart:
It’s the same drum set as the song before?
Rodger Carter:
Same drum set, yeah.
Speaker 4:
I hear you singing in the wire, I can hear you through the whine.
Warren Huart:
Yeah, great.
Speaker 4:
And the Wichita lineman is still on the line.
Rodger Carter:
There’s that. Here’s more of a singer-songwriter kind of thing.
Speaker 5:
In the chilly hours and minutes of uncertainty, and I want to be.
Rodger Carter:
This all sounds good, yeah?
Warren Huart:
Sounds great.
Speaker 5:
Of your loving mind. And to feel you all around me now, take your hand-
Rodger Carter:
I love this. I haven’t had many people cover Donovan.
Warren Huart:
This is a really good cover.
Speaker 5:
Try and catch the wind. When the sundown pales the sky, I want to hide a while behind your smile.
Rodger Carter:
Drums come in, in a second. I should’ve advanced it.
Warren Huart:
That’s okay.
Speaker 5:
Your eyes I find. And for me to love you now would be a…
Warren Huart:
Great.
Rodger Carter:
26 inch bass drum with a big fluffy beater.
Warren Huart:
Wonderful.
Rodger Carter:
So there’s that. Here’s something completely on the other end of the world. Some heavy stuff. This isn’t Glen Campbell.
Warren Huart:
No.
Rodger Carter:
There’s that.
Warren Huart:
That’s great. John’s amazing.
Rodger Carter:
Yeah. Here’s more of a bluesy kind of bluesy thing.
Speaker 6:
You look just like an angel. You sound so bright and true. You seem so sweet coming down my street, but the devil is an angel, too. The devil is an angel, too. Somehow you seem familiar. Haven’t I seen you before? Got a different name, but is it the same old hard-
Warren Huart:
Great. Well, we’ll make sure that this playlist is underneath. We’ll create a playlist on Spotify for those people that want to come back and listen to all stuff.
Rodger Carter:
Cool. Yeah, yeah.
Warren Huart:
I think I want to hear the Rick Springfield song, because we talked about Rick.
Rodger Carter:
Songs for the End of the World. That’s the name of the album, but it’s pretty…
Speaker 7:
Running away from the sulfur on the streets. This city burns, it never sleeps. The quick sand pulls, I can’t break free. Let go of me, depravity. And I can not deny there’s blisters on my feet from the fire, can you make me complete? Turn this black sheep to family. It’s hard to believe I’ve slid into this hole. This place is leaked into my soul. Oh let me be depravity.
Speaker 7:
Falling forward I’ll be free. Save me from the dark men who came to town. Save me, I don’t want to be lost but found. Save me, so I won’t burn this fortress down.
Warren Huart:
He’s great.
Rodger Carter:
He’s a great songwriter. Here’s a… I did the ear candy on this one. This is Def Leppard. Not real drums, but some nice mix stuff.
Warren Huart:
So this is recorded here?
Rodger Carter:
Mixed.
Warren Huart:
Mixed here?
Rodger Carter:
This one was just mixed here.
Warren Huart:
I’m assuming, David Essex? Yeah?
Rodger Carter:
What’s that?
Warren Huart:
I’m assuming it’s David Essex.
Rodger Carter:
That mixed this?
Warren Huart:
No, no, the song.
Rodger Carter:
Oh yeah, yeah. Yeah, yeah, yeah.
Speaker 8:
Hey, kid, rock and roll. Rock on. Oh, my soul. Hey, kid you boogey, too. Did ya?
Warren Huart:
Who mixed that?
Rodger Carter:
This was Dave Darling.
Warren Huart:
Oh, okay. Dave’s fantastic, yeah.
Rodger Carter:
I don’t even know how many records he’s done here, but his nephew is one of the engineers that I use a lot, Zach.
Warren Huart:
Yeah. Fantastic. Thanks for having us by.
Rodger Carter:
Thanks for coming by, guys. Thanks.
Warren Huart:
It was a lot of fun. Hey, I like all this, one of the areas you can hang out. That’s worth noting as well. It’s really relaxing with the sound of the water.
Rodger Carter:
When you get the bands in here with a huge entourage and you don’t want them breathing down your neck, you send them up there.
Warren Huart:
Fantastic. Well, thank you. There’s going to be a link underneath here to a whole bunch of recordings they’ve done here, and please leave a bunch of comments and questions below, and have a marvelous time recording and mixing. Thanks again.
Rodger Carter:
Thanks.
