“Best Local Recording Studio” in 2014
Dollhouse Studios Voted Best Local Recording Studio by Connect Savannah’s “Best of 2014”
On Tuesday May 20th, Local Arts and Entertainment paper Connect Savannah announced it’s “Best Of” for 2014, which included Dollhouse Studios, the full-service recording studio that lives within the umbrella of Dollhouse Productions. All winning local businesses, artists, writers, musicians, photographers, etc. were recognized in an award ceremony/party Tuesday evening. This is the first time Dollhouse Studios has been recognized as a local “best of” since its inauguration in 2012.
Owners Peter and Blake Mavrogeorgis cannot express their gratitude enough to all who have helped pave the way to their success. Only a few years ago, the couple moved to Savannah GA from the big city in search of a dream. Their dreams of cultivating a creative atmosphere while providing top-notch services is coming true through everyone’s support. HERE’S TO A PROSPEROUS YEAR AND MANY YEARS TO COME!!
READ THE FULL ARTICLE BELOW!
From Connect Savannah’s “Best of 2014” Issue Week of 5.19.14-5.25.14
Dollhouse Studios takes up slightly less than half of the 5,600 square feet of 980 Industry Drive, a more or less nondescript brick building on the extreme western edge of Savannah.
The rest of the old factory structure consists of Dollhouse Productions, a mid-sized performance venue (with lounge) that’s quickly becoming a go-to spot for envelope-pushing live music, and the offices of Dollhouse Public Relations.
The studio, however, was the raison d’etre, at least when Peter Mavorgeorgis and his wife Blake took over the lease in 2011.
Mavorgeorgis was a Long Island kid playing in punk and hardcore bands when he had his first studio experience in the early 1990s. “We’d go into these recording studios, where this guy with a ponytail and a fanny pack and a Supertramp shirt on would basically tell us we were doing everything wrong,” he recalls. “And make fun of us, and try to make us listen to ‘Wonderful Tonight’ by Eric Clapton. Basically treat us like hell.
“So my friends and I just started amassing gear, saying ‘To hell with this. We’re going to do it ourselves.’” They had no choice, they figured. “To save up money to go to a studio and then get treated like that … that’s not gonna fly,” Mavorgeorgis says.
While studying at Fordham University, Mavorgeorgis started hanging around the semi-famous Soho studio Green Street. He volunteered to help any way he could, and eventually graduated from making coffee and cleaning bathrooms to making dubs, then mixing, then assisting on productions.
He and Blake Olmstead met in New York but were married in Savannah, where she had family connections. Once they decided to get out of the city, coming here permanently was the clear choice.
That was a bit less than four years ago. Blake Mavorgeorgis runs the Dollhouse PR company and the day-to-day venue operations.
The studio is Peter’s territory. The console is a combination of ProTools 11 HD and analog-to-tape recording. “We treat digital like it’s analog,” he explains. “Which means rather than mixing on a screen, we’re mixing on a big old recording console, like you’d see in a picture book of ‘choose your recording session of the past.’ As a result, we’re using all the conveniences of digital, and trying to eke the last bit of sonic buttery-ness by employing vintage analog equipment in the signal chain and in the mixing process.”
Mavrogeorgis likes blending both systems (analog and digital) to create a final production master. “There’s some things tape can do that digital just can’t do, no matter what,” he says. “A lot of it has to do with getting that nostalgic sound that we all love when we hear a recording.”
Along with several national and regional clients, local bands including Triathalon, Whaleboat, Sauna Heat and A Nickel Bag of Funk have recorded at Dollhouse. The Royal Noise’s new This is the Funky Part is a Dollhouse production.
Having the nightclub and the studio in the same compound, Mavrogeorgis says, has its benefits. “They work together nicely. Because people will come and play the venue and see the studio, and then all of a sudden—we have a booking.” —Bill DeYoung