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 The Pop Machine is a world class recording studio located in the artistic epicenter of the Broad Ripple/Glendale area of Indianapolis, Indiana. Located within a mile of the city's' finest restaurants, nightclubs, and art galleries, The Pop Machine is nestled on a beautiful wooded acre on Indy's north side. The Pop Machine offers many amenities just not found at other recording facilities. Musicians built The Pop Machine for other musicians; its equipment purchases, recording philosophies, and studio design are built for the specific purpose of making stellar recordings. The Pop Machine's owners toured the world's finest studios frequently making trips to New York, Los Angeles, Nashville, Miami, Atlanta, New Orleans, Muscle Shoales, Chicago, Seattle, and Memphis to create a vision of what would become The Pop Machine. The ideas have been implemented and result is nothing short of amazing. In many ways, The Pop Machine is the model for the "recording studio of the future" with its commitment to cutting-edge Internet technology and combination of organic audio recording and what The Pop Machine calls "E-cording." The Pop Machine can conduct web casts of live recording sessions, upload mp3 files of tracks as soon as they are recorded and mixed, as well as allow music fans to hear "works-in-progress" of their favorite artists recording at The Pop Machine. In the future, music fans will not have to leave their home to buy their favorite band's material, they will be available in a downloadable format from thepopmachine.com literally minutes after the artist has completed their recording project. These innovative, creative, and progressive visions follow The Pop Machine's mission to lead the recording industry in web initiatives and take the modern recording studio to a place once thought impossible.
Perhaps the most distinctive feature of The Pop Machine is the
recording area. A gorgeous 20x16x13.5 live room with hardwood maple
floors lined with mahogany, poplar, and cherry accents give the room
a rich, reflective, and musical voice. The Pop Machine is built to
perfection with separately poured "floating" foundations to ensure
superb isolation between rooms. The Pop Machine's tracking room is
as equally proficient at cutting loud drums, brass, and screaming
guitars as it is at recording the subtleties of voices, strings, and
woodwinds. Two isolation booths There
are many recording studios out there. We believe that you will
Eric Klee Johnson Eric began his musical career in Indianapolis, Indiana by studying music, writing songs, and playing in bands with his twin brother, Marc. Eric's first group, a new wave outfit by the name of Exquisite Fashion, was one of the most popular groups in the Midwest college music scene. This was the 80's, the days of college radio and when "alternative," "electronic," or "progressive" music was truly underground. The group recorded its first record with a semi-big name New York producer when Eric was only 19 years old. The album was released and the group toured relentlessly in support of the record. "In my eyes, the record was not an accurate representation of our band's sound and I committed myself to learn the art of recording and vowed to never work with an outside producer again." With that motto, Eric and Marc bought a Fostex four-track recorder and the twins started making home demo recordings. Soon after that an 8-track analog tape recorder was purchased then and finally a 16-track deck with a British mixing desk. In 1990, Eric and Marc took their large recording equipment inventory and audio savvy and became partners with Indianapolis attorney and artist manager, Terry Monday, in an Indianapolis recording studio called The Electric Underground which later became known as REV Recording Company. It was also during this time that Johnson played in the acid-core band 15 Minutes. The critically-acclaimed group was a big live concert draw on the East Coast and Southern United States. 15 Minutes recorded 3 seminal albums and toured relentlessly coast to coast in support of their releases. The 15 Minutes records were all recorded, engineered, and co-produced by Eric. "Those records were recorded in an incredibly small room at REV; however, they captured the sound and identity of the band." This not only satisfied the band and its fans, but also other local Midwest musicians who were looking to capture their own sound on record. Eric's phone started ringing from artists, managers, and bands wanting him to produce their albums. Eric quickly accumulated an impressive catalog of material that he produced, engineered, and recorded including albums by Toxic Reasons, Elektrolab, The Bitter Ends, Sindacato, Pfreak Show, Frank Dean, Ralph Jeffers and the Honky Tonk Prowlers, as well as numerous others. As a testament to his growing popularity and skill as a producer, music critics started to recognize Johnson's ability to capture and fine-tune the sound of the artists he recorded in their record reviews. "I truly have a very organic and natural way of producing records as to preserve the identity of the artist, at the same time, enhancing the overall sound with economical musical arrangements, convincing performances, and superb sonics. In many ways I become another member of the bands I produce working with them rather than barking commands at them. I generally always work with groups in the pre-production stage, which is really just a fancy name for band practice. I believe that the essence of a recording happen in those early stages. I really encourage artists to be very prepared before entering the recording studio. I feel that the recording studio is a place to make magic happen, not write songs. Being prepared also allows bands to save time and money at the same time helping to foster a positive, productive, and creative culture in the recording sessions." Eric's laid back, easy going approach might catch some musicians by surprise; however, it is usually a welcome presence. "I generally work with artists several times over the course of their career on various recording projects. I believe that I get to work with most artists more than once because I try to be very easy to work with and I am committed to capturing the artist's vision at the same time having fun while making great records. I see my role as the person who sonically realizes the creative vision of the artist and capturing it on tape. My favorite producers are people like Glyn Johns, George Martin, Brian Wilson, Phil Spector, and even some of today's producers like Brendan O'Brien, Daniel Lanois, or Jack Joseph Puig, all of whom I feel do a superb job of making the artist's vision come to reality, I aspire to do that every time I enter the studio. I also engineer all of the records that I produce which helps make the technology almost totally transparent to the artist, not to mention saving them a great deal of money that is normally budgeted for an engineer! I pride myself on my ability to bring projects in on time and on budget with good results." Currently, Eric Klee Johnson is one of the co-owners of The Pop Machine Recording Studios in Indianapolis, a state-of-the-art, and cutting-edge music production facility. "Having The Pop Machine allows me to work in a very quick, easy, and intuitive way; I have my favorite recording equipment and musical instruments here as well as an absolutely brilliant sounding live room and mixing console coupled with a great vibe! To get a studio of the quality of The Pop Machine, one would normally have to travel to New York, London, or Los Angeles, now someone like me can stay here in my hometown of Indy and sleep in my own bed every night! The Pop Machine's vision of the future includes a strong Internet presence that will include live web casts from the artists recording at The Pop Machine, streaming video and audio from recording sessions, as well as mp3 files posted on the website as soon as they are mixed in our control room. This will give fans immediate access to new music from their favorite artists, I feel that this is the new wave of music delivery and creation. Another idea is to post 'works-in-progress' on the site as well as an online "4-track" that would allow fans to mix their favorite artists music and to create their own rendering of the song. By artists having this exposure to their fan base and the ability to get instant reaction to their music will allow them to make and deliver music like they never dreamed of before. I realize that these are very progressive ideas; however, one of the missions of The Pop Machine is to be ahead of the curve when comes to use of new technologies and electronic music delivery systems. " Eric follows his own creative muse in his band, "Wonderdrug" that he plays in with his twin brother and wife, Kelley Milligan. Wonderdrug's debut CD "Hi!" is out now on the start-up label Indie 500 Records, which Eric is also involved with. Wonderdrug's "Hi!" was a very successful record boasting some Midwest radio hits as well as having several songs placed in commercials, television, and film. "I still love playing live in rock clubs on big P.A.s with sweaty crowds. I feel that producers can lose the perspective of the record buying audience by staying cooped up in a recording studios all day, I feel that some of my success is due to not losing touch with that scene, as well as my ability to empathize with many of the artists that I work with. I know what it is like to have a small budget to make records, to tour endlessly without much sleep, and make sacrifices to achieve musical goals." The future is quite bright for Eric Klee Johnson with the success of Wonderdrug, the seeming limitless potential of the start-up Indie 500 Records, and perhaps most exciting, The Pop Machine Recoding Studios. "I look forward to the future especially working with new artists, experimenting with the latest technology, and making stellar recordings, at the same time, having a great deal of fun in the process. After all, isn't that what it is all about?"
Eric Klee Johnson 15
Minutes "Authentic Distortion: Speed and Hate" 15
Minutes "Raise" 15
Minutes "StarTripStar"
The Bitter Ends "The Bitter Ends"
The Bridge "Jeff McClusky & Associates Compilation" JMA
Chicago
Music Sampler Kaleidoscope Records
Citizen Bob "First Piece"
Terry Denton "The Storm"
Frank Dean "Empty Thrones" Milhone Records
Diamonds and Rust "Bitterskin" Indie 500 Records
Elektrolab "Elektrolab" REV Records
Elektrolab "Super Fantastic Rock n Roll Arcade" REV Records
Exquisite Fashion "Exquisite Fashion" X Mode Records
Fearless Fly "Kansas" b/w "When I Scream" REV Records
The Fugless "Earth vs. The Fuglees"
Her Majesty's Buzz "Her Majesty's Buzz" Memphibian Records
Bryan Hodge "Indiana Hold Me"
Indy Hits "Los Angeles Music Compilation" Indy Hits
The Jack Webbs "American Standard"
Jurassic 5 Interscope Records/The Firm Management
Memphis
Crossroads Music Festival "Take That Ttheodore" Gravelsauce Records
Patrick Nielander "Native American Flute"
Powerface "Powerface"
Niswander "Revolution of the Heart" Lyon's Den Music
NUVO Magazine "Ate Up" Compilation Red Flounder Records
Oedipus Rex "Grandma's Dead"
Pfreak Show "Comfort Control"
Puppet "Loopy"
Push Down & Turn "T-Top Queen" Spring Street Records
Push Down & Turn "Undone" Indie 500 Records
Jason Roller "Jason Roller"
Aaron Schwoerer "The Best Out Of Me"
Simply Tony "The Simply Tony Show"
Sindacato "Appalachian Pipeline" Union Records
Sindacato "Logan County" Union Records
Sindacato "Sindacato" Union Records
Toxic Reasons "In the House of the God" Bitzcore Records
Transmatic "Transmatic" loudenergy.com
Unreel "The Breakdown EP" Indie 500 Records
Waste Management "Waste Management"
Wonderdrug "Hi!" Indie 500 Records
Wonderdrug "Automatic" Indie 500 Records *Denotes unreleased at time of publishing
Marc Johnson By age 19, Johnson's band had a nationally released album and was touring the United States as a headliner as well as an opening act for many of his heroes. It was during this time that Marc developed his innovative guitar style. Later as guitarist in the critically acclaimed acid core band 15 Minutes, Marc earned a reputation as one the hottest guitarist in the Midwest. His guitar playing calls to mind Cream-era Clapton, vintage Pete Townsend, and Jane's-era Dave Navarro. His legend grew with his band's own recordings as well as his increasing popularity as a session guitarist. It was around this time that Marc grew enamored with the recording studio. Marc became a partner in a small Indianapolis recording studio called "The Electric Underground" which later became known as "REV Recording Company." The studio became a breeding ground of the burgeoning Indiana music scene by recording some seminal albums. Marc broadened his musical scope by learning the art of recording as well as playing a variety of instruments on recordings. In 1996, Marc formed Wonderdrug, which has become a hugely popular Midwest psychedelic pop band. Wonderdrug released its debut album in May of 1999 on Indie 500 Records and toured incessantly in support of the record. Wonderdrug's music, which is written by Marc and his twin brother Eric, can be heard on Modern Rock radio, in motion pictures, and syndicated television shows and commercials. Marc's vocal style is a perfect blend of John Lennon and Robin Zander. Marc's "no-holds-barred" recording and production style can be heard on many of the superb recordings in his discography. Marc is known as being an "idea man" that frequently comes up with innovative, compelling, and distinctive musical passages and visions that become defining moments of the recording projects that he is involved with. Another area of Marc's expertise is his technical computer savvy. Marc's keen eye for design and technical prowess is one of the driving forces behind The Pop Machine's strong Internet presence. Marc sees the future in this medium and pushes the organization to take advantage of the possibilities of new technology. Today Marc is one of the three partners of The Pop Machine and continues his musical endeavors with Wonderdrug, Ticketmaster, and as a valuable member of The Pop Machine team.
Marc Johnson
John Waite 15
Minutes "Raise" 15
Minutes "StarTripStar"
BamADS "Stout's Shoes"
Exquisite Fashion "Exquisite Fashion" X Mode Records
Her Majesty's Buzz "Her Majesty's Buzz" Memphibian Records
"Indy Hits Los Angeles Music Compilation" Indy Hits Recordings
The Bridge "Jeff McClusky & Associates Compilation" JMA
"Chicago Music Compilation" Kaleidoscope Records
Monsoon Car Audio "Drive Drenched in Sound" Young and Laramore
MSBB "Miles of Smies" Indie 500 Records
NUVO Magazine "Ate Up Compilation" Red Flounder Records
Puppet "My Own Zoo"
Sindacato "Sindacato" Union Records
Patrick Nielander "Native American Flute"
Wonderdrug "Automatic" Indie 500 Records
Wonderdrug "Hi!" Indie 500 Records Terry received a Bachelor of Arts degree in Forensic Studies and Sociology and as well as a Doctorate of Law degree from Indiana University. After graduation, Terry worked as a lawyer for several highly successful Indianapolis law firms; however, as his interests in music, entertainment, and the art of promotion grew, he virtually redefined his role in the local law business. In the 1980s, Monday practiced law and promoted events ranging everything from rock concerts to water ski tournaments with an equal degree of success. Mr. Monday became an artist manager for some very successful Indiana rock bands and provided legal representation to nearly everyone in the local entertainment community. Terry's industry knowledge and personal drive allowed him to get involved in many other creative endeavors including owning and operating independent record labels and production companies. It was around the early 1990's that Terry became interested in recording studios. Not just the basic function of these facilities, but the actual architectural design, creation, and construction process. To satisfy his interest, Terry designed and built two recording studios in the Indianapolis area. The studios were noted for their remarkable sound, pleasing aesthetics, and comfortable atmosphere. Terry formed his own design firm, Monday Designworks to accommodate the demand for his architectural and acoustical designs. At Monday Designworks, Terry designs not only recording studios but residential and commercial spaces that include of all things: houseboats! Terry also formed his own law firm to represent his vision, business ethics, and work philosophy. He named the firm Monday, Rodeheffer, Jones, & Albright in which Monday is the senior partner. The firm allows Terry to administer to his growing legal endeavors. Today, Mr. Monday is one of the partners in The Pop Machine Recording Studios. He not only co-owns the studio, he actually designed and built the remarkable facility! The Pop Machine is the result of years of research, development, and design. The finished space is absolutely amazing, The Pop Machine has an incredible look that makes recording artists feel instantly comfortable and allows them to produce their best possible recorded art. The sound of room is truly exceptional; Monday's use of exotic woods, unique dimensions, and exquisite cloth material gives The Pop Machine and rich, robust, and innovative sonic and visual signature. Terry's own vintage guitar collection underscores his musical interests and has even made its way into the design of The Pop Machine. The studio's entry way owes more to the Rock -n- Roll Hall of Fame than to other traditional recording studios with its striking display cases with Monday's astute guitar collection. Terry Monday's vast knowledge of the recording industry, entertainment law, and studio design makes him an invaluable member of The Pop Machine team. Today, he continues his work in the legal profession at his law firm as well as carries on with artist management. Is there anything this man can't do? |
