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Studio X

Studio X is a historic music and media recording studio based in Seattle, Washington, celebrated for its pivotal role in capturing the sound of the city's explosion in the and hosting a wide array of influential artists across genres. Originally opened in 1976 as Kaye-Smith Studios by entertainer and businessman Lester Smith as part of their Kaye-Smith Enterprises media conglomerate, the facility initially focused on commercial recordings and local music production. Under subsequent ownership, the studio evolved significantly, reflecting Seattle's burgeoning music scene. In 1989, it became Lawson Productions when acquired by producer Steve Lawson, who expanded its capabilities with advanced recording equipment. By 1992, sisters Ann and Nancy Wilson of the rock band Heart partnered with Lawson to rename it Bad Animals Studio, marking a period of heightened prominence during the grunge era; notable albums recorded there include Nirvana's In Utero (1993), Soundgarden's Superunknown (1994), Pearl Jam's Vitalogy (1994), and Alice in Chains' self-titled album (1995). The studio also contributed to projects by R.E.M. (Automatic for the People, 1992), the Dave Matthews Band, and later artists like Macklemore & Ryan Lewis and Chance the Rapper, as well as soundtracks for films such as Office Space (1999) and Into the Wild (2007). In 1997, under prior owner Steve Lawson, the adjacent soundstage was separated as Studio X to focus on video and performance capture and sold to Charlie . Bad was then sold in 1999 to a team of sound engineers including Mike McAuliffe, , Dave Howe, and . The facility adopted the Studio X name under management by Reed Ruddy, emphasizing its multi-purpose production capabilities for music, film scores, and media. Located at 2212 4th Avenue in Seattle's Belltown neighborhood, the original building was a hub for , , and rock sessions in its early years, featuring artists like with and . Facing urban development pressures, the Belltown site was sold in 2017 for $21.6 million to developer , leading to its demolition in late 2018 to make way for a 346-unit residential tower; however, Studio X relocated to a former church in Seattle's neighborhood, retaining its equipment and legacy under owners McAuliffe and McGurk. As of 2025, it operates as a versatile facility for in , television, video games, and live performances, continuing to support Seattle's creative industries.

Overview

Location and current operations

Studio X is located at 1300 E. Olive Street in Seattle's neighborhood. The studio occupies a former church building, acquired as part of a development deal that facilitated its relocation. This move, completed on October 31, 2018, followed the demolition of its longtime Belltown site at 2208–2212 Fourth Avenue to make way for urban redevelopment. Under the management of Reed Ruddy, who has overseen operations since the studio's early years, Studio X functions as a premier multi-purpose facility. It features a world-class equipped for high-fidelity audio capture, alongside a dedicated designed for live performances and . The facility supports a range of , including music recording, mixing, and mastering, as well as for film, television, and multimedia projects. Today, Studio X remains an active hub in Seattle's creative ecosystem, hosting sessions for established and emerging artists across genres. Its operations emphasize analog and digital recording capabilities, with equipment transported from the original site to preserve the studio's renowned sound quality. The venue also accommodates live event tapings and hybrid productions, adapting to contemporary demands in audio-visual media.

Facilities and equipment

Studio X, situated in a renovated church building in Seattle's neighborhood, serves as a multi-purpose production facility emphasizing high-fidelity audio recording and performance capture. The primary space, Studio A, comprises a spacious main recording room designed for large ensembles, orchestral sessions, and performance video shoots, accommodating up to 40-piece orchestras with room for big drum kits and sectional isolation using gobos. Overlooking this area from the second story is the control room, which provides direct visual access to the tracking space below, facilitating real-time monitoring during live recordings. An adjacent isolation room connects to the control room, offering a dedicated area for sensitive instruments like harps or vocals while maintaining sightlines to the main studio. The studio's technical infrastructure centers on a (SSL) mixing console, renowned for its precision in handling complex multitrack sessions, paired with preamps for clean signal amplification. Vintage outboard gear, including Teletronix LA-2A tube compressors, limiters, and Pultec EQs dating back to the 1970s, adds warmth and character to recordings, a legacy carried over from the studio's previous Belltown location. Microphone selection features classic models such as U67s for capturing nuanced performances. Digital workflows are supported via systems like MOTU interfaces and Digital Performer software, enabling seamless integration of hard drive recording with analog elements. This blend of heritage and modern tools supports diverse projects, from rock albums to film scores and game soundtracks.

History

Founding and early years as Kaye-Smith Studios

Kaye-Smith Studios was established in March 1973 as part of the Kaye-Smith Enterprises media conglomerate, founded by actor and businessman Lester Smith. The partnership between Kaye and Smith dated back to the late 1950s, when they acquired radio stations including KJR in , expanding into , concert promotion, and production ventures. The studio, located at 2212 4th Avenue in 's Belltown neighborhood, repurposed a former site previously known as DJ’s/The Showcase, initially serving local advertisers for commercial recordings and jingles while supporting the company's radio operations. In its early years during the mid-1970s, Kaye-Smith Studios quickly evolved into a prominent recording facility for major artists, benefiting from Seattle's growing music scene and the partners' industry connections. Producer Thom Bell brought in prominent soul and R&B acts, including The Temptations and The Spinners, while singers such as Dionne Warwick and Johnny Mathis recorded there. Rock acts also utilized the space; Bachman-Turner Overdrive tracked their hit single "Takin' Care of Business" in the summer of 1973, and Steve Miller Band captured sessions for albums Fly Like an Eagle (1976) and Book of Dreams (1977). Additionally, Heart recorded elements of their debut album Dreamboat Annie in 1975, marking the studio's role in nurturing Northwest talent. The studio's facilities, including multiple tracking rooms and post-production spaces, attracted high-profile visitors like , who recorded an EP in 1979. Under Kaye and Smith's oversight, Kaye-Smith Studios not only produced commercial hits but also contributed to the era's rock and pop output, solidifying its reputation before transitioning ownership in the late 1980s. This period laid the groundwork for its later incarnations, emphasizing professional-grade recording amid Seattle's burgeoning entertainment landscape.

Bad Animals era

In 1989, Steve Lawson acquired the studio and renamed it Lawson Productions. In 1991, Lawson partnered with Ann and Nancy Wilson of the rock band Heart, who renamed it Bad Animals after their 1987 album of the same name. Located in Seattle's Belltown neighborhood, the facility was upgraded to state-of-the-art standards, including the addition of Studio X as an expanded tracking space designed for large ensemble recordings. This era marked a pivotal shift, transforming the studio into a central hub for the burgeoning Seattle grunge scene amid the early 1990s music explosion. During its operation from 1990 to 1997, Bad Animals hosted numerous high-profile recordings that defined the alternative rock landscape. R.E.M. tracked their acclaimed album Automatic for the People there in 1992, produced by Scott Litt and featuring hits like "Drive" and "Everybody Hurts." Portions of Nirvana's final studio album In Utero (1993), primarily recorded with producer Steve Albini at Pachyderm Studio, were mixed at Bad Animals.) Soundgarden's Superunknown (1994), engineered by Jason Casaro and produced by Michael Beinhorn, was also completed at the studio, including the Grammy-winning single "Black Hole Sun." Pearl Jam utilized the space for Vitalogy in 1994, with portions of the album mixed by Brett Eliason, while Alice in Chains recorded their self-titled album (often called the "Tripod" or "dog" album) in 1995 under producer Toby Wright. These sessions, overseen by veteran engineer Reed Ruddy, underscored the studio's role in fostering Seattle's grunge pioneers through its advanced Neve consoles and isolation-friendly design. The Bad Animals era solidified the studio's reputation as a creative epicenter, attracting artists beyond grunge like Heart themselves for their 1993 self-titled album. However, financial pressures led to its sale in 1997 to producer Charlie Nordstrom, after which the audio production side continued under the Bad Animals name while the music recording wing was rebranded as Studio X. This transition ended the Wilson sisters' direct involvement but preserved the facility's legacy in Seattle's music history.

Renaming to Studio X and ownership transitions

In 1997, after six years of joint ownership with Steve Lawson, Ann and Nancy Wilson of Heart sold their stake in the studio, marking a significant transition in its operations and identity. This sale allowed for a restructuring, where the music recording facilities were separated from the growing audio post-production division. Steve Lawson, who had been the chief engineer and co-owner since the late 1980s, sold the recording studio portion to focus on post-production work, leading to its renaming as Studio X to reflect its renewed emphasis on music and media production. The new ownership of Studio X fell to Charlie Nordstrom, a Seattle-based producer and engineer, who acquired the adjacent soundstage and recording rooms, transforming them into a dedicated space for high-profile music sessions while Lawson remained involved as engineer until 2004. Concurrently, the brand persisted for services and was fully acquired in 1999 by an Emmy-winning team consisting of Mike McAuliffe, , Dave Howe, and Charlie Nordstrom, solidifying the split between the two entities under shared partial ownership. This division enabled Studio X to maintain its legacy as a premier recording venue, attracting artists such as and in the late 1990s, while specialized in sound design for film and television.

2018 relocation to Capitol Hill

In 2017, the Belltown building housing Studio X at 2212 4th Avenue was sold as part of a portfolio of three properties to Swedish developer for $21.6 million, prompting the studio's relocation due to impending demolition for a 346-unit multifamily tower with retail space. Longtime manager Reed Ruddy, who had overseen operations since the studio's , coordinated the transition to ensure continuity of services amid 's evolving landscape. The move was supported by collaborations with the Seattle Music Commission, which worked with the developer to mitigate impacts on local artists and preserve the studio's role in the city's music ecosystem. The relocation occurred on October 31, 2018, shifting Studio X from its historic waterfront-adjacent site in Belltown to a renovated church hall in , provided by local developer Michael Christ at 1300 E. Olive Street. This new space retained much of the studio's vintage equipment, including consoles and outboard gear dating back to the 1970s, while adapting the high-ceilinged sanctuary for modern recording needs with added isolation rooms and a overlooking the main hall. The transition marked a separation from the adjacent studio, which relocated independently to Interbay, allowing Studio X to focus on its independent operations under Ruddy's management. Prior to the move, Studio X hosted the recording of Alice in Chains' album , released on August 24, 2018, serving as a poignant final project in the Belltown facility and underscoring the studio's enduring legacy in Seattle's rock scene. The relocation preserved access to the studio's archival resources, including session tapes and artifacts, while positioning it within 's vibrant creative community, though some equipment was sold to offset moving costs. As of 2025, Studio X continues to operate from the location, serving as a recording facility for music and media.

Notable productions

Albums recorded

Studio X, operating under its previous names Kaye-Smith Studios and Bad Animals, has hosted the recording or mixing of numerous landmark albums, particularly during Seattle's grunge explosion in the 1990s and in subsequent hip-hop and rock projects. In the 1970s, as Kaye-Smith Studios, the facility captured the raw energy of emerging rock acts. Heart's third studio album, Little Queen (1977), was fully recorded and mixed there from February to April 1977, yielding hits like the title track and "Barracuda," which helped propel the band to national prominence. The Steve Miller Band also utilized Kaye-Smith Studios for mixing their blockbuster Fly Like an Eagle (1976) and follow-up Book of Dreams (1977), which contributed to the albums' psychedelic rock sound and commercial success, including the enduring single "Fly Like an Eagle." The 1990s Bad Animals era solidified the studio's role in grunge history, attracting Seattle's biggest bands amid the genre's peak. Nirvana recorded their final studio album, (1993), at Bad Animals with producer , capturing the raw intensity of tracks like "Heart-Shaped Box" and "" during May–June 1993 sessions. Soundgarden's (1994) was recorded at Bad Animals from July to September 1993 with producer , marking a sonic evolution with its layered production and tracks like "," which became staples. Pearl Jam finished portions of their volatile third album, (1994), at the studio alongside sessions at other locations, capturing the band's internal tensions in songs such as "" during a rushed, multi-site process. Alice in Chains recorded their brooding self-titled album (1995)—often called the "Tripod" album due to its —from April to August 1995 with producer Toby Wright, emphasizing the group's heroin struggles through heavy riffs on tracks like "Grind" and "Heaven Beside You." Beyond grunge, mixed their introspective (1992) at Bad Animals after primary tracking elsewhere, refining the album's orchestral elements for hits including "" and "." Following the 1997 rename to Studio X, the facility adapted to diverse genres while maintaining its rock roots. tracked much of their platinum-certified debut The Heist (2012) at Studio X, blending hip-hop with indie production on anthems like "" and "," which propelled the independent duo to global fame. In a nod to its heritage, returned in 2017–2018 to record (2018) at Studio X—their first full sessions since 1995—evoking the city's misty landmarks in songs like the title track and "The One You Know," co-produced by .

Film and television scores

Studio X, along with its predecessor Studio, has served as a key recording venue for orchestral and original scores in , leveraging its advanced facilities for live performances and audio work. The studio's large tracking rooms and high-end equipment have attracted composers seeking a collaborative environment in Seattle's vibrant scene, contributing to soundtracks that blend acoustic depth with narrative intensity. One prominent example is the soundtrack for the 2007 film Into the Wild, directed by Sean Penn, where Pearl Jam frontman Eddie Vedder composed and recorded his folk-infused score entirely at Studio X. Produced by Adam Kasper, the album features Vedder's acoustic guitar and vocals layered with subtle instrumentation, capturing the film's themes of isolation and introspection; tracks like "Guaranteed" and "Society" were tracked live in the studio over a rapid two-week period in 2007. Similarly, the original score for the 2015 drama Carol, directed by Todd Haynes, was recorded at Studio X by composer Carter Burwell. The minimalist orchestral arrangement, emphasizing piano, strings, and subtle brass, underscores the film's 1950s-era emotional restraint; sessions involved a full symphony orchestra, with mixing completed at The Body in New York, highlighting Studio X's role in capturing nuanced, period-appropriate textures. In television, Bad Animals Studio has contributed to original music for notable series, including sound design and thematic elements for Bill Nye the Science Guy (1993–1999). Composer Tom McGurk, based at the studio, earned four Emmy Awards for his innovative audio work, integrating educational motifs with energetic, synth-driven cues to engage young audiences. More recently, the studio produced the theme for KING 5's Evening program in 2019, a 15-second pop-orchestral piece by McGurk featuring over 100 layered tracks, drums, strings, and sound effects to evoke daily anticipation and joy. Other film scores recorded at the facility include orchestral elements for (1999), where composer John Frizzell incorporated quirky, minimalist motifs to satirize corporate drudgery, utilizing the studio's acoustics for ensemble sessions. These projects underscore Studio X's evolution from rock recording hub to a versatile space for cinematic audio, supporting 's growing scoring community through partnerships like the Pacific Northwest Film Scoring Program at the , which has held recording sessions there since the mid-2010s.

Video game soundtracks

Studio X, formerly known as Bad Animals, has established itself as a prominent facility for audio production in , specializing in , mixing, and orchestral recordings for . The studio's capabilities in handling large-scale symphonic sessions have made it a go-to location in for composers seeking high-quality support in the gaming industry. A key example of its contributions is the recording of the Halo: Reach Original Soundtrack in 2010, composed by and . The sessions took place at Studio X with performances by the Northwest Sinfonia orchestra and choir, capturing over five hours of music from which approximately two hours were selected for the final two-disc release. This orchestral work blended epic, choral elements with electronic motifs, enhancing the game's narrative intensity and contributing to the Halo series' renowned audio legacy. The production highlighted Studio X's role in bridging traditional symphonic recording with modern video game scoring demands. The studio's involvement in video game audio underscores Seattle's historical prominence in the field, where facilities like Studio X supported the integration of live instrumentation into immersive soundscapes, influencing the evolution of game music toward cinematic quality.

Legacy and impact

Role in Seattle's grunge scene

Bad Animals Studio, which later became part of Studio X, played a pivotal role in Seattle's scene during the by serving as a premier recording facility that captured the raw energy and innovation of the genre's leading acts. Owned in part by Heart's Ann and Wilson starting in 1992, the studio's state-of-the-art equipment and central downtown location made it an attractive hub for local bands transitioning from underground venues to major-label success, fostering a creative environment amid the explosive rise of . This period marked a shift from its earlier incarnation as Kaye-Smith Studios, repositioning it as a cornerstone of the Seattle sound that blended , metal, and influences. Several iconic grunge albums were recorded or finalized there, amplifying the studio's influence on the genre's global breakthrough. Soundgarden's Superunknown (1994), a multi-platinum effort that peaked at No. 1 on the Billboard 200, was tracked from July to September 1993, with drummer Matt Cameron recalling it as a "state-of-the-art facility in the heart of downtown" where the band utilized every space for experimentation. Similarly, Nirvana remixed key tracks "Heart-Shaped Box" and "All Apologies" from In Utero (1993) in May 1993 with producer Scott Litt, refining the album's abrasive sound just before its release and contributing to its status as a grunge cornerstone. Pearl Jam completed portions of Vitalogy (1994), including its rapid production amid the band's rising fame, while also recording the companion EP Merkin Ball (1995) and collaborating with Neil Young on Mirror Ball (1995), all of which highlighted the studio's role in sustaining grunge's momentum into the mid-1990s. Alice in Chains further solidified Bad Animals' legacy by recording their self-titled album (1995), often called the "Tripod" or "Dog" album, from April to August amid personal struggles, resulting in a dark, introspective work that debuted at No. 1 on the and underscored grunge's emotional depth. The studio's involvement with these bands not only produced commercially successful records—collectively selling tens of millions of copies—but also symbolized Seattle's DIY ethos evolving into a professional recording ecosystem, influencing subsequent productions. By 1997, when Studio X split off as an independent entity, Bad Animals had cemented its place as a vital incubator for grunge's sound and cultural impact.

Notable personnel and innovations

Studio X, during its tenure as part of Bad Animals Studios, was associated with several influential figures in the Seattle music scene. Steve Lawson, a former radio personality, acquired the facility in 1989 and renamed it Lawson Productions before partnering with Heart's Ann and Nancy Wilson in 1991 to establish Bad Animals Studios, investing $2.2 million in upgrades that positioned it as a premier recording venue. The Wilson sisters, Seattle natives and members of Heart, played a key role in its expansion, including the development of Studio X as an internationally respected space for high-profile acts like Nirvana and Pearl Jam. Later owners Charlie Nordstrom, Mike McAuliffe, Tom McGurk, and Dave Howe shifted focus toward audio post-production for film, television, and video games starting in 1999, earning multiple Emmy awards for sound design and mixing, including work on series like Bill Nye the Science Guy. Among the studio's notable engineers and producers were Jason Casaro, who handled engineering duties for Soundgarden's 1994 album Superunknown, capturing the band's expansive live sound in the facility's cavernous tracking room. Producers Adam Kasper and Michael Beinhorn also collaborated there on the same project, leveraging the space's capabilities for full-band recordings with dual drum kits. Ed Brooks served as a multi-track engineer at Bad Animals in the early 1990s, contributing to Seattle's diverse rock and alternative recordings before transitioning to mastering. Chris Shepard engineered and mixed industrial rock projects, including KMFDM's 1995 album Nihil and tracks from Soundgarden, utilizing the studio's hybrid analog-digital setup. Earlier, producer Thom Bell brought R&B acts like The Temptations to the Kaye-Smith era, while Dave Grusin produced sessions for jazz vocalist Diane Schuur in 1982, often playing piano on-site. Innovations at Studio X centered on its architectural and technical features, which supported the , immersive recording style emblematic of . The studio's large live tracking room, designed for simultaneous full-band performances, allowed for innovative layering techniques, as seen in Soundgarden's ability to record with two drum kits and extensive amplification without isolation booths. It incorporated vintage analog equipment, including Teletronix LA-2A tube compressors, limiters, and Pultec EQs from the , blended with state-of-the-art digital consoles in the to achieve warm, dynamic tones that defined many recordings. This hybrid approach evolved from the facility's origins with analog in 1979 to advanced capabilities by the late , enabling seamless transitions between music tracking and for .

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