NYC Studio Tour: North Brooklyn – Part 1

BROOKLYN, NYC: Brooklyn correspondent Justin Colletti visited with 30-some studio owners for our new neighborhood studio tour series. This first installment takes a closer look at a handful of North Brooklyn’s small to medium-size studios that are affordably-priced for indie artists, friendly to freelance engineers and operate without a traditional console.

Rough Magic
Greenpoint, Brooklyn
www.roughmagicstudios.com

Room Rate: $400/day (House engineer available)

The Pencil Factory is an epicenter of Greenpoint’s creative culture, and the home of the rehearsal and recording studio, Rough Magic.

This multipurpose facility set up shop alongside a cadre of mastering studios, record labels and artist’s workshops in 2003, and has gone on to play host to a diverse clientele featuring names like Soulive, Talib Kweli, MGMT, The Fiery Furnaces, and Beirut.

In addition to its regular practice spaces, a room-rate as low as $400/day secures a Pro Tools HD-equipped studio capable of capturing 16-tracks of live audio as well as a full suite of instruments and front-end gear from API, Focusrite, Amek/Neve, Neumann and AKG.

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The Gallery Recording Studio
East Williamsburg Industrial Park, Brooklyn
www.thegalleryrecordingstudio.com

Rates: 
$40 per hour, $350 for 10 hours (including engineer)

In the fall of 2006, Brian Forbes and Keith Parker began building a suite of handsome, wood-floored live rooms in East Williamsburg’s industrial park. Parker tells us that their new home-base, Gallery Recording aims to create a “warm and relaxed atmosphere that offers amongst the best bang-for-your-buck in NYC.”

To complement its ample live rooms, the Gallery’s DAW-based control room runs an 18-channel Pro Tools system and houses a respectable cache of rack gear, microphones and instruments that might best be described as “contemporary classics.”

These two attentive producer/engineers have built up a promising demo reel that includes sound samples from indie and major label artists As Tall As Lions, Rae 6 and Emily King.

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Grand Street Recording
Williamsburg, Brooklyn
www.grandstreetrecording.com

Contact for rates.

Grand Street Recording’s Ken Rich has had a long and varied career as producer, engineer, and bass player, working with artists like Joseph Arthur, Julia Darling, The Madison Square Gardeners, Ward White, The Compulsions, Morley, Lucinda Black, Tracy Bonham, and Laurie Anderson. Just as impressive is his studio’s wide variety of vintage instruments, amps and mics.

“We’re certainly affordable to most independent artists”, says Rich, “and the studio is very freelance engineer-friendly since the routing and patchbay are so thoughtfully set up. GSR is also a great mix room. We have a boutique collection of compressors and limiters, two classic spring reverbs, as well as Lexicon and Bricasti multi-effects, and the room itself provides a great and also accurate listening environment.”

More than housing a sizable collection of some of the industry’s most coveted microphones, preamps, and compressors, Grand Street Recording is a playground for musicians, and home to a startling assortment of vintage drums and boutique basses. Rich continues:

“Our mic collection is extensive and we feel that capturing acoustic instruments is one of the things we do best. We seldom record with EQ, but rather select the correct microphone and placement for the instrument. The studio is very musician-centric as we have a huge assortment of vintage instruments that are at the disposal of all of our clients. People often get very inspired when the come in to the studio to try different instrument and amp combinations in order to create new sounds, and it is our job to capture those moments.”

“There are also really good sight-lines between the rooms so that even if people want each instrument isolated, they still feel that everyone is in the same room. The staff at GSR is friendly, knowledgeable, quick, and musical. Usually we can have a band tracking within an hour or so of the time that they walk into the doors, so we can get a lot of recording done in a day.”

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The Brewery Recording
East Williamsburg, Brooklyn
www.thebreweryrecordingstudio.com

Rates: 
Studio with Engineer: $70/hr (discounted blocks: $260/4hrs, $500/8hrs, $700/12hrs); 
Studio with Assistant Engineer:  $50/hr (discounted blocks: $180/4hrs, $330/8hrs, $450/12hrs)

The Brewery isn’t the first studio venture for Andrew Krivonos and Oladipo “Dot Da Genius” Omishore. These young producer/engineers outgrew their project studios quickly, with Krivonos   sharpening his skills in his private mix room, Southfall studios, and Dot making a name for himself in his home studio by collaborating with Kid Cudi on the breakthrough single “Day N’ Nite.”

Now in a new suite on the East Williamsburg/Bushwick border, everything about The Brewery’s design shows the mark of a 21st century studio. A Control 24 digital board and front-end racks from API, Avalon, Neve, Presonus and Vintech sit in the center of the room, ready to integrate with a Pro Tools HD system or Ampex MM1200 2” 16-track tape machine.

“We strive to set the future model for recording studios in New York,” Krivonos says. ”We understand the limited recording budgets of most and want to provide big-commercial studio service at a realistic price.”

To that end, The Brewery have supplemented their already competitive rates with creative pricing packages like the “Early Bird Special” and a unique “$949 Rock Block,” that promises a whole lot of tracking at a pre-set price.

Fortunately, Krivonos knows running a studio is more than a simple equation: “The most important factor of our studio is our staff engineers. People will come back to you no matter how shitty your studio is if you can give a great product. The product — our mixes — are what keeps our clients coming back, more than anything else.”

When asked if about their emerging specialties, Krivonos says: “We do a lot of pop, rock, R&B, and hip-hop. Producers love our space for the monitoring and freelance engineers love it because of the functionality and affordability.”

Justin Colletti is a Brooklyn-based audio engineer and music producer who’s worked with Hotels, DeLeon, Soundpool, Team Genius and Monocle, as well as clients such as Nintendo, JDub, Blue Note Records, and the Metropolitan Museum of Art. Visit him at www.justincolletti.com.

Music Unites: Inspiration and Music Education in Motion Across NYC

MIDTOWN, MANHATTAN: Charged up is a good way to describe the onset of Music Unites. A non-profit focused on bringing music education to underprivileged children in underfunded inner city school systems, Music Unites is one of many emerging organizations with an ambitious agenda.

A classically-trained pianist, Michelle Edgar launched Music Unites in mid-2009, after looking extensively for a charity that she would be thrilled to donate $1000 to. But lacking a match, she moved fast to start her own philanthropic program. Just a year later, Music Unites has made itself heard quickly by hosting innovative events, then following up with a star-powered style of community outreach that appears to be resonating.

The founder filled us in on the eve of two notable events in one week. First they’re teaming with Rolling Stone to present InTune with the Fiery Furnaces and DJ Alexandra Richards downtown on Tuesday, 6/29. The next day, Wednesday 6/30, Music Unites will be the sole charitable beneficiary of an anticipated Culture Project production, the performance of “Twin Spirits” with Sting and Trudie Styler at Jazz at Lincoln Center.

Why did you kick off Music Unites?

I wanted to create a community that supported emerging and established musicians across all genres of music, and broke down traditional barriers between classical, rock, hip hop and jazz—bringing that music to underserved communities and funding music education programs.

I also wanted to give artists a chance to develop and build a philanthropic outreach program tailored to what they’re passionate about. We work closely with the artists and their teams to develop long-term initiatives, and fundraise on the artists’ behalf to make their initiatives and programs come to life, so they’re proud of their initiatives which are personally tailored to what they stand for.

The community of artists and the showcases are meant to inspire artists of different genres to collaborate with one another, and expose people to new types of music across all genres that they traditionally might not be used to.

This seems to be a concept that’s gaining steady steam, city-wide. Why do you think the focus of Music Unites — bringing music education to underprivileged children in inner city school systems – seems to have such a sense of urgency?

An investment in music education is an investment in both our children and in our society: Our mission is to foster and nurture the next generation of young artists.

Regardless of age, race, gender, or ethnicity, music has the ability to transcend barriers between people and effect positive social change. Music provides children with a creative outlet that promotes the development of self-discipline, self-esteem, cross-cultural understanding, teamwork, critical thinking, and problem solving skills. In adults, music can help strengthen the connection to our local community and society at large.

It’s well documented that the skills learned through musical training and education are critical to both scholastic and future workforce success. Music Unites strives to build a platform for emerging artists – one that connects with under-privileged youths to engage them in music education.

That’s a big mission to take on. So tell us about the approach you take to accomplishing your goals: How are you spreading the Music Unites message and helping it to take effect?

Started only one year ago, Music Unites has garnered much acclaim by raising $55,000 to support our first major initiative — The Music Unites Youth Choir, an inner city choir bringing together under-privileged children from the five boroughs of New York City together with our partners from the Young Audiences of New York.

Launched in fall 2009, this free after-school program allows young people to develop their musical, vocal and performance skills under the guidance of professional vocalists, musicians and theater artists, while exploring a variety of musical styles. The kids made their debut at Carnegie Hall in a Who tribute back in March and we’ve brought our artists, including John Forte and Jaicko, to do workshops and speak to the children. Back in May, we also brought the kids into a studio to record their first song they wrote.

On the educational outreach front, we’ve brought our services to inner city schools in Harlem and Brooklyn by doing programs with our artists where they go into the schools and share and inspire the children through their stories on how they got where they are today—teaching them the right lessons as well as their struggles and challenges along the way.

You do a lot of public events as well, including a dynamite duo this week: first InTune with the Fiery Furnaces and DJ Alexandra Richards on Tuesday, followed by benefitting from a a production of “Twin Spirits” with Sting and Trudie at JILC. Wow.

The charity continues to grow in leaps and bounds as we’ve produced successful events and gotten a diverse community of artists to support our cause from Sting, Joshua Bell, Lang Lang, Melanie Fiona, and Peter Bjorn and John, Fiery Furnaces to Alexandra Richards and more. Through these events and many others, we’ve worked with prestigious venues including Lincoln Center, the U.N. and Carnegie Hall which has helped us garner a certain level of respect in the industry, being such a young grassroots organization.

We are currently at a pivotal point in our organization’s growth to help support of our music education initiatives, which include a nationwide instrument drive and the creation of an all-scholarship-based Music Unites Summer Camp, similar to that of Tanglewood but for children who would traditionally not have the opportunity to go to such a camp.

Those are some fast achievements, and tantalizing possibilities. But what differentiates Music Unites from other non profits out there?

We’ve built a dynamic and culturally diverse community of artists that are committed to our mission, and we give our artists an opportunity to create their own programs tailored to their passions — so they can feel strongly for what they represent and stand for.

There’s consistency and regularity with our artist showcases which happen on a monthly basis. We’ve created a community where musicians across genres come and support one another

In less then a year, we’ve been able to partner with major companies like OK magazine, Rolling Stone and Lancome which has been tremendously exciting to such a young charity.

What’s rewarding about working with a musical non profit? Let us in on a memorable moment or two.

There are so many—it’s hard because they’re all very special for different reasons and a labor of love. I would have to say the UN peacekeeping concert with the UN, Lincoln Center Fall Masquerade with the Young Patrons, The Who Tribute at Carnegie Hall where the kids made their debut and the HIGHLIGHT- our December event with Sting and Trudie premiering their Twin Sprits project, a classical music project which I really think speaks to what we stand for.

And now, being involved with the live production of the music on the 30th at Lincoln Center with our Music Unites artists including Joshua Bell and Natasha. Sting and Trudie’s Rainforest Foundation gala was the inspiration of Music Unites and it has been such a true privilege and honor to work with them.

Those are some serious privileges. On the flipside, what makes this initiative a bigger challenge than you expected?

The desperate need for this kind of thing. With budgets being cut every single day we need to raise significant funds to service the schools and communities, to keep music alive. We have the artists who are willing to do whatever it takes: Now the focus is on fundraising and helping take this organization to the next level.

We all need mentors. Who are people that have been inspiring you along the way?

Gustavo Dudamel, Conductor of the LA Philharmonic, Julie Greenwald, Atlantic Records President, and Sylvia Rhone, the President of Universal Motown. I’ve been inspired with the work Gustavo has done tied to El Sistema orchestras and want to be part of the work he is doing here in the US with building these orchestras. Also, he works hard in bridging the gap and looks to do things out of the box by pushing the envelope. This is needed, especially right now to attract new audiences to classical music.

Julie and Sylvia are women I look up to. They are leaders and innovators in the music business who inspire the next generation. If I can do half of what they’ve contributed to the music community over my lifespan, I’d be content with myself.

If people or companies want to get involved with Music  Unites, what are the different ways they can help?

We’re always looking for strategic partnerships and are always open to new ideas across a multitude of industries from music, fashion, technologic, entertainment. We build platforms and look to 360 marketing integrations that are mutually beneficial for the organization since they help raise money, in addition to being mutually beneficial for the brand and company.

Finally, we say: Why must you be in NYC?

We were born here and NY will always be home. It’s the melting pot—uniting people and music!

– David Weiss