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From YouTube: Here/now Artscape: Inner Ear Studios
Description
A segment of AVN's monthly magazine show, "Here/now", "Artscape" takes a look at all things cultural around Arlington. This episode visits a landmark of the DC Punk scene, Don Zientara's Inner Ear Recording Studios.
A
A
B
I
got
my
first
paid
recorder
somewhere
in
grade
school,
and
this
started
two
little
recordings:
recording
myself
and
friends,
and
things
like
that.
I
hung
around
a
lot
of
people
who
knew
about
electronics
and
how
to
build
things
and
we
used
to
go
around
on
trash
day
and
pick
up
the
stuff
that
all
the
magna
boxes
that
people
you
know
threw
out
that
wouldn't
work
and
they
would
turn
them
into
guitar.
Amplifiers
and
I'd,
be
amazing
how'd!
You
do
that
how'd,
you
wire
it
up.
B
It
was
very
much
a
scatter
brained
idea.
There
was
no
advertising
plan,
there
was
no
business,
there
was
no.
There
was
no
plan,
it
was
sort
of
like
well.
We
need
to
do
this,
so
we're
gonna
do
it
and
he
needs
to
do
this.
Well,
I
have
this
so
I'll
help
him
out
and
this
and
this
sort
of
fuel
yourself
in
a
sense,
some
of
my
friends
were
still
connected
to
you
said:
hey,
hey,
you've
got
some
equipment,
we're
playing
quest,
fights
with
knights,
come
record
us
and
one
of
the
first
things
I
did.
B
That
was
more
on
the
professional
scales.
You
can
call
it
that
was,
I
recorded
a
friend
of
mine's
van
at
the
aid
tavern.
I
think
it
was
and
the
cookie
boards
were
playing
that
night
too,
and
I
remember
kim
king
came
over
saying
you
know
you're
recording
them
you
mind
recording
up
to,
and
so
I
did,
and
you
know
that
leads
to
one
thing
in
another.
They
just
happened
to
be
in,
and
my
friend
sandwich
too
in
the
leading
edge
of
music.
At
the
time
I
didn't
know
this.
A
B
Punk
fans
being
basically
shunned
like
people
who,
like
other
music,
but
it
was
certainly
a
societal
type
of
thing
when
you
were
a
punk
or
you
were
not
a
punk
and
and
a
lot
of
it
was
the
the
fact
that
you
know
your
friends
came
through
the
studio
and
they
had
a
record
done,
and
I
guess
from
what
I
could
glean
from
these
people.
We
understood
what
they
wanted,
and
I
kind
of
my
philosophy
at
the
time
was
very
much
in
line,
I
think
with
theirs.
B
I
wanted
it
to
come
across
exactly
as
it
was,
and
I
think
that
that
resonated
with
a
lot
of
them
and
that
worked,
that's
basically
the
way
it
ran
high
difference.
You
can
record
people
who
were
sort
of
on
the
edge
of
the
music
at
the
time,
and
that's
it.
It's
not
like
something
that
I
set
out
to
do
where.
Oh,
I'm
gonna,
you
know
we're
creating
our
skill.
We've
got
to
use
on
the
cutting
edge
of
music.