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| Dixon Studios | |
|---|---|
| Name | Dixon Studios |
| Type | Recording studio |
| Founded | 1987 |
| Founder | Michael Dixon |
| Location | Shoreline, Seattle, Washington, United States |
| Notable | "Neon Harbor", "Silent Atlas", "Riverbone Sessions" |
Dixon Studios Dixon Studios is a private recording complex established in 1987 in Shoreline, Washington. Founded by producer-engineer Michael Dixon, the studio became known for hosting a range of projects across rock, indie, folk, jazz, and film scoring, attracting bands and artists from Seattle, Los Angeles, New York, London, and Vancouver. Over several decades the facility developed a reputation for analog warmth, modular console design, and collaborations with producers and engineers linked to major labels, independent labels, festivals, and film houses.
Founded after Michael Dixon left a live-sound company to pursue studio production, the studio opened during the late-1980s Seattle music boom alongside labels and scenes associated with Sub Pop, Epic Records, Geffen Records, Matador Records, and EMI. In the 1990s the studio recorded sessions connected with artists touring with Pearl Jam, Soundgarden, Alice in Chains, and other acts that characterized the Pacific Northwest wave; contemporaneously it served independent acts signed to K Records, Epitaph Records, and Kill Rock Stars. Through the 2000s Dixon Studios weathered industry shifts driven by digital distribution from Apple Inc., Amazon, and Spotify, while expanding relationships with film composers who had credits on projects with Warner Bros. Pictures, Universal Pictures, and Paramount Pictures. In the 2010s the studio invested in refurbishment programs linked to funding from regional arts organizations such as the Washington State Arts Commission and partnerships with academic programs at the University of Washington and Cornish College of the Arts.
The complex occupies a converted warehouse near the Shoreline city center, featuring multiple live rooms, iso booths, and a control suite. The design incorporates acoustic consulting influences from firms that have worked with venues like Abbey Road Studios, Sun Studio, and Electric Lady Studios; material choices echo techniques used in projects with Massey Hall and Carnegie Hall refurbishments. Studios are arranged around a central control room outfitted with a custom-built console inspired by designs from Neve Electronics and API; live rooms include variable acoustics modeled after sessions recorded at Capitol Studios and Studio 2, Abbey Road. The building also contains a Foley room adapted for work comparable to facilities used by crews for Pixar, DreamWorks Animation, and independent film houses.
Dixon Studios hosted landmark releases and film scores ranging from breakthrough indie albums to soundtrack work. Notable records tracked or mixed at the facility include vocal-centric records in the lineage of Nirvana-era productions, chamber-folk recordings akin to sessions by artists affiliated with Sub Pop and Jagjaguwar, and jazz dates in the tradition of sessions on Blue Note Records. Film and television post-production credits include compositions and mixing for productions associated with Netflix, HBO, and BBC co-productions. Session rosters often overlapped with touring bands that played at venues such as The Crocodile (nightclub), Moore Theatre, and festivals like Bumbershoot, SXSW, and Coachella.
The studio’s alumni list comprises performers, producers, engineers, and arrangers who have also collaborated with institutions and figures like Butch Vig, Steve Albini, T Bone Burnett, Rick Rubin, Brendan O'Brien, Nigel Godrich, and John Leckie. Musicians who recorded at the facility include artists whose careers intersected with Ani DiFranco, Death Cab for Cutie, The Shins, Fleet Foxes, Modest Mouse, and The Postal Service. Staff engineers went on to roles at major studios associated with Capitol Records, Island Records, and Sony Music Entertainment; producers and session players have credits on tours for Radiohead, Coldplay, U2, and regional orchestras such as the Seattle Symphony.
Dixon Studios emphasized hybrid workflows combining analog signal paths with modern digital audio workstations. The control room housed vintage outboard gear similar to equipment preserved at Abbey Road Studios and boutique manufacturers linked to the AES (Audio Engineering Society), while integrating DAWs like Pro Tools, Logic Pro, and Ableton Live. The facility pioneered a multi-format archival approach inspired by restoration practices at the Library of Congress and techniques used in preservation projects with National Film and Sound Archive. Equipment lists evolved to include tube microphones akin to vintage designs used by Neumann, ribbon microphones favored by engineers at Motown Records, and monitoring systems comparable to those in installations by ATC (company) and Genelec.
Projects recorded at the studio earned nominations and awards that intersected with major industry honors, with credits appearing on recordings shortlisted for Grammy Awards, Brit Awards, and regional recognitions such as the Seattle Music Awards. Film and television projects tied to the facility received nominations from bodies including the Emmy Awards and festival accolades at events like Sundance Film Festival and Telluride Film Festival. Individual engineers affiliated with the studio were recognized by organizations such as the Audio Engineering Society and received local commendations from the King County Arts Commission.
Dixon Studios influenced the Pacific Northwest’s recording culture by supporting emergent artists, facilitating cross-pollination between indie rock and film composition, and mentoring engineers who contributed to studios across North America and Europe. The studio’s role paralleled that of regional hubs like London’s RAK Studios, Los Angeles’ Sunset Sound, and Nashville’s RCA Studio B in sustaining scenes and providing infrastructure for touring acts. Its archival projects and teaching partnerships helped preserve session practices referenced in exhibitions at institutions such as the Museum of Pop Culture and university curricula at the Berklee College of Music. Over time Dixon Studios became both an incubator for local talent and a waypoint for international artists seeking a distinct West Coast sound.
Category:Recording studios in Washington (state)