Three short city blocks from the Pacific Ocean and one block off of Santa Monica’s world-famous Promenade, there is a special little place where folks have been making stellar music for thirty-six years.
Brian Epstein’s Sound Solutions opened in 1978 with clients that included Little Richard, Stanley Clarke, George Clinton, and the Beach Boys, who recorded “Kokomo” here. Designed and constructed by the same team that built A&M (now Henson) Studios, the tracking room features a wavy ceiling, no parallel surfaces and bass traps, with walls and floor floating in sand.
In 1989, Kathleen Wirt and a partner bought the studio and renamed it 4th Street Recording, redecorating with the comfy, creative vibe for which it would become known. People are heard to say that they love 4th Street for many reasons—its sound, its location, its people—but the most frequent compliment is, “I feel really good here.”
Since 1995, twenty-four acts have been signed to record deals with a recording from 4th Street, starting with Fiona Apple’s “Shadowboxer,” a track that was released as the first single on her Grammy-nominated album “Tidal”. Next came Incubus, Alien Ant Farm, and Hoobastank, all to become platinum-selling artists.
Kathleen became the sole owner of 4th Street Recording in 2001 and expanded into the space next door for the next 12 years. When the music business began to change, the studio adapted and continued, with a happy staff that continued to put out a great product.
As 4th Street Recording celebrates its 25th anniversary in 2014, it also celebrates a newly installed vintage API console, and its 12th RIAA Gold/Platinum award with The Neighbourhood’s “Sweater Weather.”
4th Street Recording feels like a cozy home in a friendly little beach town, but offers all the big city benefits of Santa Monica’s Bayside District, simply put, 4th Street Recording is a good place to stay for a long time. And, as the staff will advise, “If you don’t take a walk down to the ocean at sunset, you’re not using the full facility. “