Melodies Spanning Time and Space

The spirit of Cameron Studios, founded in 1980 in the basement of the Reynolds family home on Cameron Avenue, Scranton, has grown far beyond its multicolored carpeted walls. From Cameron Studios (1980–2009) to the Wyoming Avenue (2009-2012) studio and now The Stude (2012-Present), these spaces have been the heartbeat of the Reynolds family’s music for generations. Each studio embodies the warmth of family collaboration, the hum of creativity, and the essence of a shared history, preserving memories while inspiring new melodies.

Cameron Studios: The Beginning

Cameron Studios, founded in 1980 in the basement of the Reynolds family home on Cameron Avenue, Scranton, was the heart of the Reynolds musical legacy, built by Jim Reynolds Sr. and brother Bugsy as a practice space for their nascent Blue Trolley Band and a haven for crafting original music. Its multicolored carpeted walls, drape-covered corners concealing guitars and amps, and amber-lit VU meters created a cozy, creative retreat where Jim Sr., Bugsy, and friends including Bob ‘Boothy’ Booth collaborated to craft music and forge lasting bonds.

The Blue Trolley Band honed their rock originals here, laying the groundwork for their 1984 45 Chasing a Dream / Billys Sneaker, while simultaneously playing live shows. From the late 1980s to the mid 1990s, the studio served primarily as Blue Trolley’s rehearsal hub, with Jim Sr. exploring home recording on his Yamaha MT-120 4-track cassette recorder.

Left: Bob ‘Boothy’ Booth (left) and Bugsy Reynolds (right) working on vocal parts in Cameron Studios’ live room. Right: Jim Reynolds Sr. engineering a session at the mix console in the control room, with the Teac A2340SX to his right. Early 1980s.

Left: Tim McDermott recording vocal tracks for The Push in Cameron Studios’ live room. Center: Bobby Reynolds laying down acoustic guitars between takes for a Robert James Band session. Right: Jim Reynolds Sr. (left) and Nunzi Allegrucci (right) jamming during a practice session. Circa mid-2000s.

In 1997, Jim Jr.’s passion for recording revived the control room, sparking the Robert James Band’s acoustic-driven rock jams. By 2000, Jim Sr.’s embrace of 'computer recording' modernized the studio, and from 2002–2003, Jim Jr.’s local connections brought Scranton High School (and surrounding area) bands like Deacon Steve, Half Past Last, and Primo to record, capturing the early 2000s punk rock scene.

Wilbur Reynolds Sr.’s barbershop quartet, The 7th Sound, left preserved harmonies, later saved through tape baking. For toddler-aged Jim Jr., the studio was a playground of towering gear and family warmth, shaping a lifelong love for music. Until its closure in 2009 after Wilbur’s Sr.'s passing, Cameron Studios was a collaborative crucible, its recordings fueling Coin Records’ mission to share the Reynolds legacy.

Wyoming Avenue: A Bridge Between Eras

From 2009 to 2012, the Wyoming Avenue studio served as a vital transitional space for the Reynolds family’s music after Cameron Studios closed following Wilbur Reynolds Sr.’s passing. Relocating the equipment to this interim home ensured the family’s creative spirit endured, fostering a seamless continuation of their legacy. Wyoming Avenue buzzed with diverse projects: Maybe Someday, Jim Jr.'s original and cover band that had rehearsed at Cameron Studios, used it as a practice space and recorded demos for a second album, some of which will be released through Coin Records. Bryan Brophy, Maybe Someday’s drummer, laid down tracks for his screamo project An Autumn Sunrise’s second album, a precursor to their third album now in production at The Stude.

The Push, a fictional ‘80s band by Jim Jr. and Tim McDermott, recorded demos and a mini-documentary at Wyoming Avenue, capturing their first live show at Scranton’s Vintage Theater—a performance blending covers and originals, set for future Coin Records release.

Left: Danny Sr. (left) and Jim Sr. (right) arranging parts for The Reynolds Brothers’ forthcoming album in the Wyoming Studio, 2010. Right: Danny Jr. honing guitar tracks for the same album, 2010.

Left: Nate Hosie laying acoustic guitar and vocal foundations for Maybe Someday’s original album in the Wyoming Studio, 2009. Right: Jim Jr., wearing headphones to engineer Danny Sr.’s vocals for The Reynolds Brothers, adapts to the studio’s combined live and control room, 2009.

Adam Farley and Jim Jr. crafted original demos, including their interpretive cover of “Hold On Blue Eyes,” later featured on Farley’s 2018 EP All the Right Reasons, mixed and mastered by Jim Jr. at The Stude.

The Reynolds Brothers—Jim Sr., Danny Sr., Jim Jr., and Danny Jr.—reworked Danny’s original ballads, blending harmony-inspired melodies with new material, though the project paused after the move to The Stude; production has since resumed for an upcoming release. Notable collaborators like Tom Graham co-produced Underneath a Rusting Roof (released 2015) entirely at Wyoming Avenue, later finalized at The Stude and Windmill Agency. John Smith of Underground Saints also recorded solo work, including a cover of The Band’s “When I Paint My Masterpiece.” Wyoming Avenue was more than a studio—it was a creative haven that bridged Cameron Studios’ past with The Stude’s future, preserving the Reynolds family’s (and friends') collaborations.

The Stude: A New Sanctuary for Creativity

The Stude, established in late 2012 in Scranton, emerged as the modern heart of the Reynolds family’s musical legacy, a sanctuary built to carry forward the spirit of Cameron Studios. Constructed by Jim Reynolds Sr., Jim Jr., and close friends Lee Shaffer and Markie Dennebaum, its live room—an enclosure within a warehouse—and control room became the "newest" collaborative space, blending nostalgia with innovation. Framed carpet tiles echoing Cameron’s multicolored walls hold guitars, while the Teac A2340SX stands as a sentinel, warming the studio with amber VU meters. The control room, equipped with state-of-the-art digital recording technology, empowers precise production. Beyond the live room, the warehouse’s open space captures super-ambient recordings for guitars and drums, infusing tracks with a live, resonant sound.

Left: Danny Jr., Danny Sr., and Jim Sr. refining guitar parts for The Reynolds Brothers’ album in The Stude’s live room, a project spanning Cameron Studios, Wyoming Avenue, and The Stude. Right: Framed carpet tile patch in the control room, echoing Cameron Studios, with a selection of guitars.

Left: Jim Reynolds Jr. (left) and Tim McDermott (right) in a promo shot for The Push’s album in The Stude’s warehouse, posing before giant speakers from The Blue Trolley Band’s PA system (Photo by Jim Lentz). Right: John Blake of The Ok Fine Band directs musicians tracking bass and drums for their upcoming album from The Stude’s control room.

Projects seeded at Wyoming Avenue, like The Push’s Greatest Hits Vol. 1—recorded amid construction with saws and lumber and its music video for “Dance Pants” capturing over 100,000 YouTube views, were completed at The Stude. The Reynolds Brothers resumed their album, set for release, and collaborators like Nate Hosie recorded vocals for his Nashville singles.

An Autumn Sunrise’s screamo album, slated for June, and The Ok Fine Band’s third album showcase The Stude’s versatility. For Jim Jr.’s children, tinkering with gear at ages one, three, and five, The Stude is a playful echo of Cameron’s magic, ensuring the Reynolds legacy thrives through Coin Records’ releases.

Then & Now—

Coming soon: See how Cameron Studios’ gear inspires a new generation at The Stude today!

James Patrick explores The Stude's control room , where Cameron Studios' Teac A-2340SX and other gear now thrive.

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