I take what our clients are doing herepersonally. I connect with their music.I’ve been lucky that way,” begins Vic

Branco, proud owner of the longstandingstaple of the Toronto recording industry,Iguana Studios, in response to a fairly gen-eral question about his business. “It justseems like all the stuff that comes throughhere that we have the opportunity to workwith is interesting in its own unique way.”

For Branco, that approach has playeda major role in the continued success ofIguana, and the subsequent reputationthat has kept the studio thriving for twodecades. What began in 1994 as a projectstudio – billed by Branco as “the musi-cian’s studio” – Iguana has since earned it-self a spot amongst the frontrunners of therecording landscape of diverse Toronto.

“The studio was started ‘by mu-sicians, for musicians,’ and thingshappened really quickly,” Branco says,borrowing a common turn of phrase. “In1994, we started out with a Soundcraft[console], then an MCI, then a Neve, andby 1999, there was an SSL… I t was partof the plan to get to that pinnacle goal ofhaving a studio that could do major albumwork, which we got to fairly quickly with just steady growth.”

Celebrating its 20th anniversary as amainstay in the city’s music market, Iguanahas played host to numerous high-profileacts over the years. Artists such as BillyTalent, Three Days Grace, Gene Simmons,and Nelly Furtado are only a sample ofthe upper-echelon talent to have walkedthrough the doors. Boasting a resume

packed with award-winning and chart-top-ping artists, the studio has earned its placeas a top destination for major-label players.

But living up to its early title as “themusician’s studio,” Iguana has garnered areputation for working with dedicated andtalented musicians on a path to success– artists that Branco and the engineerscan relate to. For Branco, that’s becomethe thrill of working in the industry and anincreasingly greater focus in his businessmodel. In this way, Branco says the stu-dio’s mandate has shifted over the years.

“You come out of the gate and you’vegot big dreams. You want to work withall the top acts and rock stars,” Brancoexplains. “As time marched on, we werefinding it more and more rewarding to workwith up-and-coming artists, catching themin development and getting their deals. It’sa very satisfying and gratifying way to work,and has also been very sustainable.”

Working with engineers who areall actively involved in the Toronto musicscene lends to Iguana’s professional but

relaxed working environment. Branco sayshe tries to keep the vibe of Iguana out ofthe corporate realm, and instead maintainsan intimate, creative work environment. Theresult is a more collaborative touch on thematerial that goes through it.

“Because it is a musician’s environ-ment, a lot of the bands here are veryinviting of advice, and we always do ourbest to point them in the right direction,”says Branco. “We try to avoid the verycorporate vibe where you book a session,they take your coin, good luck, and see youlater. There’s a little bit more of a personaltouch on everything we try to do here.”

 

Building on the idea that Iguana is the mu-sician’s studio, Branco’s current team ofengineers is comprised primarily of activemusicians. “Being that we’re all very musi-cal and pay a lot of attention to the trends,a lot of the time, we’re feeling the samethings that [clients] are feeling,” he says.

Essentially, his staff comes largely

20 YEARS OF

REPTILIAN

RESILIENCE &

MUSIC-DRIVEN

MOMENTUM

By Anthony Altomare

26 • PROFESSIONAL SOUND

 

PROFESSIONAL SOUND • 27

from the same demographic as his clients,and Branco is quick to credit his currentstaff for contributing to the personal ap-proach that has come to define the studioand the work it produces. Comprised ofa core group of six individuals, Branco isexcited by the crew he has assembled andwhat each contributes to the creative atmo-sphere at Iguana.

Working as Branco’s right hand manand currently responsible for a majority ofthe recording at Iguana is engineer andproducer Tal Vaisman. Aside from his gigat Iguana, Vaisman is also a recording art-ist. “He’s the whole package,” his employersays proudly. “He’s in a band, writes music,and is trying to get to the same place thata lot of these artists are trying to get to. Hecan really relate to them on that level.”

Also mixing and tracking at Iguana isDarius Szczepaniak, the “seasoned vet” atthe studio whose years of experience makehim an essential component of Branco’screw. Andre Doucette, Dwayne “Shakim”Wright, and Gabe Gallucci round out the

list of regular staffers turning knobs andpushing faders on a consistent basis.

“They take a really personal approachto their work, because they understandthat’s how they’re going to build theirbusiness, and that’s how they’re going tobuild Iguana’s business,” says Branco ofhis staff. He attributes much of the studio’ssuccess of late to his team, and especiallytheir attention to detail and ability to relateto clients, which helps bridge the gapbetween artist and engineer; between pas-sion and professionalism.

 

After walking into Iguana Recording, thepièce de résistance is easy to identify:a stunning SSL 4082 G Series console,originally custom built in Oxford, Englandfor Avatar Studios in New York City, for-merly known as Power Station Studios,which now resides in Branco’s controlroom.

During its stint in New York, the boardwas an essential part of the recording

and mixing of some of the most influentialartists of the last several decades – fromAerosmith to Iggy Pop, Sting to MariahCarey.

Since being acquired by Iguana in2001, the board now boasts the title ofbeing the “largest SSL console in Ontario.”Alongside the massive mixer, Iguana is fullyequipped with all the amenities of a mod-ern, digital recording studio, including ProTools HD3 and an assortment of vintageanalog outboard gear and microphones.

But although Iguana features all ofthe conveniences of modern recordingtechnology, Branco says the studio is cur-rently experiencing a revival of the analogmethods and tools. “There’s definitely abig shift for us,” he offers. “I don’t know ifit’s because of the Dave Grohl documen-tary on Sound City and its iconic Neveconsole, but something seemed to re-ed-ucate the public and revive the analogrecording tools.”

More and more ar tists are embracingwhat Branco describes as the hybrid meth-od – in-the-box recording that still employsthe analog console and preamps for vari-ous aspects of the project, such as track-ing and sub mixing. “A lot of new bandsare calling and asking for this stuff again,which is exciting…it’s almost like a refreshbutton on the studio, and we embrace andare excited about that.”

On the opposite side, Branco reflectson some of the newer technological inno-vations that have become indispensible toIguana’s operations, and his initial answeris only one word: Melodyne. He elaborates,speaking to the program’s Direct NoteAccess (DNA) functionality and the level ofcontrol it brings to his projects.

Working with a mix of technologiesand equipment has helped Branco educateyounger generations of artists and engi-neers who, unlike many musicians of thepast, come into the studio with a generalunderstanding of the recording process.

With home recording technologybeing vastly less expensive and easier tooperate on a basic level than ever before,not to mention the wealth of informationavailable online, Branco says the wholerecording process has become “a lot morecollaborative.” Reminiscing on his past as arecording artist, Branco admits that musi-cians of his day were not nearly as techni-cally savvy when it came to the equipmentand processes involved in recording audio.

“I remember sitting in a major studioin Toronto mixing a record with an SSL andI was like, ‘This sounds great,’ though I hadno understanding or really no interest inwhat we were actually working on, asidefrom it being really cool looking,” he jokes.

A more prepared and knowledgeableclientele helps make Iguana an environ-ment where artist and engineer work hand-in-hand in a collective effort to achievea final product. It’s a workflow that alsoallows artists the opportunity to becomeacquainted with the analog technologies

IGUANA RECORDING’S CONTROL ROOM, WITH 

SSL 4082 G SERIES CONSOLE.    P   H   O   T   O  :   A   R   T   H   U   R   P   O   R   T   E   &   D   A   N   W   O   O   D

 

28 • PROFESSIONAL SOUND

 

the studio has to offer, whichcan help deepen a surface-lev-el understanding of the sonicprinciples being employed –what he calls the “prequel toPro Tools.”

“If you don’t know where[the methods] came from,then you’re really just hittingpresets. Then, it’s like, are youmaking music? Are you mixingit? Or are you just using basicuser-friendly presets that aregoing to make everything even-

tually sound the same?”With the wealth of re-

cording information currentlyavailable to musicians, Brancoalso warns of the flip side of thecoin, which he has encounteredrecently. Although many artistscome to Iguana with a basicunderstanding of the recordingprocess, there are cases whereself-taught hobbyists have de-veloped notions or workflowsthat aren’t fundamentally sound.“The information is out there,

but there is a lot of bad infor-mation as well,” says Branco.“When people get that mindsetfrom that information, it’s reallydifficult to get them to unlearn it.So ultimately, the way we work– in close connection with theartists, being very transparent– is kind of part of an effort toprevent that.”

 

According to Branco – andfitting considering the studio’sanimalistic moniker – the for-mula for Iguana’s success todate has simply been “adapt-ing.” For two decades, Iguanahas maintained a reputationfor its relaxed atmosphere andservices that cater to the talenton an individual level.

It goes without saying thatplenty has changed since 1994– the technology, the workflow,the formats, the industry... Allhave influenced the servicesoffered by Branco and his col-laborators, and ultimately, howthey cater to their clientele con-sidering the times. As an exam-ple, Branco says it’s very com-mon of late to have artists onlyhandle certain components oftheir records at Iguana, such asinstrument tracking, often com-pleting other parts in a homestudio environment or sendingmixes off-site.

Rather than staying root-ed in the past, Branco hassurvived by embracing suchtrends as they emerge. “I’ve just basically found a way towork with each client and findwhat they want, and if that’show they want to make a re-cord, then I just try to find away to help them make it.”

Helping to point the musi-cian in the right direction hasalways been a priority at Igua-na, and Branco says it increas-es the chances of repeat busi-ness. He’s not just speculating,either, as Branco has outlastedsome of his peers by relyinglargely on repeat business andword-of-mouth referrals.

“That’s really what’s keptthe studio going; adapting toeveryone’s way of making mu-sic and trying to guide them,and direct them, with us in-volved in their product to makeit as good as it can be withwhat they have to work with.”

For much of the pastyear, the studio has been busyworking closely with GunnerRecordings, an aboriginal

label representing JUNOAward-winning artists such asDerek Miller and newcomersGhost Town Orchestra. Theimprint is set to release fouralbums in the coming year, andIguana has become somewhatof a residence for Gunner’sroster.

Branco credits much ofhis business to the diversity ofthe innovative independent mu-sic landscape in his home city.Spearheaded by bands suchas Arkells and Bedouin Sound-clash since the turn of the cen-tury, Iguana has had as wide asonic and stylistic spectrum ofsounds pass through its signalchain as its owner ever couldhave expected.

“On a sonic level, there isnot really a defined ‘Toronto’sound because there are somany indie bands creating theirown styles, and that’s what’smade it interesting,” he asserts– “especially with a coupleof major studios opening updowntown, which definitelybrought more attention to thecity as a recording destinationand helped revitalize the studiomarket.”

Branco maintains that, asa whole, Toronto is experienc-ing somewhat of a revival as faras music creation, and as thenumber of studios in the areagrows, more and more artistsare drawn to the opportunityof working in quality rooms toproduce records – a trend thatbenefits Iguana and its compet-itors alike.

“They’re empowering whatI’m doing and what I’ve foughtto continue,” Branco says ofsome other heralded Toronto- area studios. “I embrace theirexistence and I work with themif there’s anything that we cando together. They’ve been help-ful to me and I hope I’ve beenhelpful to them.”

 

Perhaps the best indicatorof Iguana’s success and resil-ience is its history of attract-ing its core clientele almostexclusively through its repu-tation and referrals. “We’vesurvived via word of mouth,which is pretty bizarre andimpressive at the same timein a world focused on mar-keting, branding, and socialmedia,” says Branco – a tes-tament to the quality of thework produced.

YAMAHA MAPLE CUSTOM KIT IN IGUANA’S LIVE ROOM.

   P   h  o

   t  o  :

   A  r   t   h  u  r

   P  o  r   t  e

   &   D  a  n

   W  o  o

   d

SOME GUITAR TRACKING OPTIONS.

   P   h  o

   t  o  :

   A  r   t   h  u  r

   P  o  r   t  e

   &   D  a  n

   W  o  o

   d

IGUANA’S OUTBOARD OFFERINGS.

   P   h  o

   t  o  :

   G  a  r   h  a  m

   D   i  c   k   h  o  u

   t

 

PROFESSIONAL SOUND • 29

IGUANA’S GABE GALLUCCI, VIC BRANCO & TAL VAISMAN WITH RICH HUNTER OF GUNNER RECORDINGS.

   P   h  o

   t  o  :

   H  e

   l  e  n  e

   B   i   l  z

CONSOLESSL 4082 G Series with Total Recall(64 E EQs , 16 G EQs, 4 Stereo GModules & 4 Stereo Patchable VCAs)

HD RECORDERS1 x Avid Pro Tools HD3

3 x Avid Pro Tools 192 I/Os (24 in, 48 out)1 x Avid Pro Tools Sync I/O1 x Apogee Big Ben1 x Apple Mac Intel 8 Core1 x HHB Professional 850 CD-R Burner1 x LaCie 4x DVD-R Burner

MONITORS & AMPLIFIERS2 x Urei 814 C Studio Monitors2 x Yamaha NS-10 Studio Monitors2 x Yamaha HS-50M Studio Monitors2 x Tannoy PBM 6.5 Studio Monitors2 x Bryston 4B1 x Crown DC-300A1 x Ashly FET 500

MIC PREAMPS/EQUALIZERS60 x SSL E Series16 x SSL G Series2 x Neve 3415 mic Pre1 x Chandler TG2

COMPRESSORS1 x Tube-Tech CL-2B Stereo Tube2 x Urei 1176 LN (Black Face)

1 x Urei 11782 x Urei LA-41 x Eventide Omnipressor2 x Valley People Dyna-mite – Stereo1 x Audio & Design Super D ynamic Limiter1 x OC – EQ/Dynamics/Stressor2 x CBS Volumax Stereo80 x SSL G4 x SSL G stereo1 x SSL Quad (4-Channel)

OUTBOARD PROCESSING

2 x Emperical Labs Distressors1 x AMS RMX 16 Reverb2 x Aphex Arual Excit er – Type B1 x BBE Sonic Maximizer1 x dbx 120XP Subharmonic Synth2 x Dolby A-Type 361 NR1 x Eventide H3000 D/SX Ultra-Harmonizer1 x Lexicon Super Pr ime Time1 x Lexicon PCM 42 Delay1 x Lexicon PCM 80 Reverb1 x Lexicon 224 Reverb1 x Lexicon Prime Time1 x Lexicon Super Pr ime Time1 x Roland SDE 2500 Delay1 x Roland SDE 3000 Delay1 x Studio Technologies AN-2 Stereo

Simulator1 x Yamaha Rev 7 Delay1 x Yamaha SPX 901 x Yamaha SPX 90 II1 x Yamaha SPX 900

MICROPHONES1 x Neumann U87

1 x Neumann U89i1 x Neumann U67 (Available as Rental)2 x Neumann KM 841 x AKG C12 (Available as Rental)1 x AKG 414 ULS2 x AKG 4511 x AKG D1121 x AKG D124 x Sennheiser 4211 x Sennheiser 4091 x EV RE-201 x EV-RE-16

2 x EV 308B2 x Shure SM572 x Shure SM581 x Shure Beta 581 x Sennheiser 4092 x Audio Technica 4033a1 x Audio Technica ATM 631 x Audio Technica Pro 251 x RCA Ribbon

AVAILABLE ON REQUEST1 x Telefunken U471 x Chandler Zener Limiter1 x Chandler Curve Bender1 x Roland 501 Tape Echo

1 x Matchless Amp Head1 x Dr. Z A35 Amp Head1 x Line 6 Amp Head1 x Gibson Les Paul

1 x Matchless 2 X12 Cabinet1 x Flextone 2X12 Cabinet

1 x Yamaha Maple Custom Drums

Anthony Altomare is afreelance writer and musicianin the Niagara region.

According to Branco,the studio’s mandate has notchanged since its first year ofoperations. Iguana is 100 percent music oriented, and willcontinue that way for the fore-seeable future.

As a way to help showcasetalent and keep up with thetimes, Branco says Iguana willspringboard into social media in2014. Along with a redesignedwebsite and Facebook page,Iguana will soon be operating aYouTube channel showcasingmany of the artists that haveworked in the studio, offeringmusicians another outlet to pro-mote their music.

As for other changes onthe horizon for Iguana in itsanniversary year and beyond,Branco says the studio recentlyacquired a small complement ofanalog outboard gear that willadd to its available options.

In the past, Iguana hashosted a New Music Nightat the iconic Drake Hotel onQueen West, showcasing manyemerging and established indieacts. Branco says he is plan-ning to reintroduce this initiativein the coming months with IanMartins and the help of somespecial guests and industryprofessionals. Planning is alsounderway for a commemorativeparty in the coming months tocelebrate the milestone andIguana’s significant influenceon Toronto’s music communityover the years.

In this industry, amidsta musical backdrop as diverseas Toronto’s, two decades ofbusiness have demonstratedIguana’s ability to adapt and pros-per in the recording industry.

To date, Branco’s businessmodel has displayed the lastingqualities of a small businessthat knows and understandsits niche and, more importantly,can predict where it’s moving.It’s a modest but methodicalapproach that has seen Iguanabecome a benchmark for therecording industry in Ontario.

“I don’t know how I gothere; that 20 years just wentby in a flash,” says Branco withan air of sincerity and outrightsurprise. “That’s half my life, andthere have been so many oppor-tunities and creative people andcool projects to come throughhere… it’s been such a blur. Ineed to try and soak more of itin over the next 20!” ■