NORTH BROOKLYN: Our neighborhood studio tour continues with four more decidedly uncommon studios in North Brooklyn. We talked to the owners of Strange Weather, Headgear, Metrosonic, and the Fort about sessions, toys, and building an active niche in this teeming slice of the city.
Those familiar with the SonicScoop blog-roll may recognize the name of Marc Alan Goodman, who’s been recounting the saga of building Strange Weather’s new, full-service tracking studio on the Greenpoint/East Williamsburg border. In the meantime, it’s a small secret that his current location already hosts one of the most impressive collections of hand-picked ear candy in the city.
More than anything, this is a studio for artists and engineers with boutique tastes. No summary can do justice to the extensive selection of gear that includes names like Neve, API, Purple, Gates, Federal, ADL, Neumann, Coles, dbx, RCA, and Bricasti. Strange Weather is also home to a startling collection of guitars, drums, and keyboards at the ready for capturing any sound musicians can imagine.
Most surprising of all, according to Goodman, is the price, and the fact that all his vintage treasures are in prime working condition.
“I wanted to build a studio where people can walk in and use world-class gear at an affordable price in a functioning atmosphere,” Goodman says. “There’s nothing worse than booking a day at a studio where nothing works. I feel like that’s the rule rather than the exception in the commercial studios I’ve worked in.”
In the interest of full disclosure, this reporter has recently been in for some sessions at Strange Weather, and this kind of attention to detail has it fast-becoming one of my favorite places to work. Owning a studio has begun to turn Goodman into a capable tech in his own right: his racks are over-stuffed with impeccably maintained vintage gear, and handmade re-creations of studio classics like the LA2A, LA3A and 1176.
Built around a new 32-channel API 1608 console brimming with the choicest EQs, Strange Weather turns out to be an ideal room for overdubs, mixing, or any sessions that don’t require a cavernous live room.
When asked about his niche in the studio scene Goodman says: “Ideally everyone would complete their records from start to finish in a studio, but today it seems more common for musicians to combine studios with smaller at-home or portable rigs. We’re focused on making that process as seamless as possible; to give musicians and engineers used to working at home a place they can walk in and use great, often rare equipment in a functioning environment.”
Rates: Click for Room + Engineer Rates
Room Rate: $600/day; $550/day for blocks of 3 days or more.
If there’s any truth behind the idea that Williamsburg is a great place to make music, a lot of responsibility for that would have to fall on studios like Headgear Recording. Since opening in 1998, Headgear has been the birthplace of seminal records from TV On The Radio, Massive Attack, Lee “Scratch” Perry, Animal Collective, CocoRosie, Nada Surf, My Morning Jacket, Son Volt, the Yeah Yeah Yeahs, Moby and Santigold.
Although the “Room For Rent” model of studio has waned as competent owner-operators create their own personal oases of sound in every corner of the city, Headgear remains one of the most accessible and freelance-engineer-friendly studios in New York.
In addition to house engineers Alex Lipsen, Scott Norton, and Dan Long, Headgear has been home to projects from a who’s who of hip and distinctive producers and engineers, including John Agnello, Peter Katis, Dave Sitek, John Hill, Chris Moore Gordon Raphael, TJ Doherty, and Chris Coady.
Headgear is also no stranger to Film and Television Post. Recent clients include “Grey’s Anatomy,” MTV’s “Skins,” “CSI: Miami” and the Columbia Pictures comedy Walk Hard: The Dewey Cox Story.
According to studio manager Jackie Lin Werner, the studio’s appeal is personal as much as it is technical: “ We’re not stiff or pretentious. We’re down to earth and like to be helpful. Beyond the gear and the size of our rooms, I believe people trust Headgear as an established studio with a respectable client list. Headgear probably appeals most to indie bands and major label bands looking for an affordable, high quality studio in a space that has a creative vibe. “
Headgear’s A-room houses an automated Trident 80C console and offers a choice of Pro Tools HD and 24-track 2-inch tape. A well-equipped B room is also available for mixing and overdubs.
Contact for rates.
Neve Console. Pro Tools HD. Ampex 2”. Engineers who know what they’re doing. What more could you need to know?
According to Metrosonic’s Pete Mignola, it’s the people who make a studio: “The people who built it, the people who run it, the people who use it,” he tells us.
“Everyone who comes to Metrosonic talks about the vibe. Of course they like the great gear, the affordable rates, the windows & city views, but they always say that they love the vibe here. There’s human element to this that makes each studio unique and special in its own way.”
Metrosonic has always had a large, comfortable control room. More recently, the studio’s originally modest live room underwent significant renovations in 2008, and now, Pete and the crew are excited to bring a new 850 square-foot live room into the fold.