Elle King recorded in Studio 1 with Dave Rowland engineering…Desiigner recorded in Studio 2 with Rowland engineering and Desiigner self-producing…The Flaming Lips featuring Miley Cyrus recorded in Studio 2 with Kenta Yonesaka engineering and Wayne Coyne producing…Lewis Hamilton recorded in Studio 1 with Patrizio Pigliapoco engineering, and various producers…Bon Jovi recorded in Studio 1 with Yonesaka engineering, and John Shanks and Jon Bon Jovi producing…Zayn Malik recorded in Studio 2 with Malay Ho producing and engineering…Ryuichi Sakamoto was in Studio 2 doing a 5.1 mix for the film IKARI, with Conrad Hensel engineering and Sakamoto self-producing…Kygo wrote and recorded in Studio 2 (also self-engineered and self-produced)…The studio also recently added Pro Tools 12.4 with HDX2 64/64 HD I/O with the new Mac Pro Cylinder computers for both Studio 1 and Studio 2.
Arto Lindsay (left) & Daniel Schlett at Strange Weather
Arto Lindsay was in the studio with producer/engineer Daniel Schlett. The Neumann U47 was the clear stanout when it came time to record Lindsay’s vocals. That paired with a Collins 26U for compression gave his voice an extreme clarity and very soft, big sound. They also used Oto Machines Biscuit to treat drum, percussion and guitar tracks with heavy amounts of distortion and harshness.
Mr. Probz (left) & Mark B. Christensen at Engine Room Audio
ENGINE ROOM AUDIO
Mr. Probz came by the studio while in New York City to work on new music with chief mastering engineer Mark B. Christensen in the Mezzanine Studio. Mr. Probz then released a video for his latest single “Fine Ass Mess,” which was mixed and mastered by Christensen… French Montana released the video for his latest single “Figure It Out” featuring Kanye West and Nas, which was mixed in the studio’s Mastering Suite by Anthony “AntMixedIt” Daniel, along with assistance from Danny Sardi, and mastered by Dan Millice…Legendary MC Rakim stopped by Engine Room to work on an exclusive project with engineer Sardi in the Mezzanine Studio…Willa released her debut album, Criminals + Dreamers, which was mastered in the Mezzanine Studio by senior mastering engineer Andy VanDette…Angie Martinez stopped by the Mezzanine Studio to record an interview for The Combat Jack Show, with Jeffrey Greenspan engineering…Chief executive of the Loud Speakers Podcast Network Chris Morrow and The New York Times shot a feature in the live room and the Mezzanine Studio.
McCoy Tyner Jazz Pianist (John Coltrane, Michael Brecker, Stanley Clarke) was in the studio for live tracking of jam session consisting of drums, upright bass, alto sax and acoustic piano. The session was self-produced and engineered by studio manager/engineer Owen Murphy and was tracked live in Showcase 1, a new 1,650-square-foot live room. On drums they used vintage Gefell tube mics for overheads in a spaced-pair position; a Shure SM7B on top snare and SM57 on bottom; Sennheiser 421s on toms and a Neumann FET 47 on kick. For alto sax, they used a Neumann Tube 47 as the main microphone in a far position, and a 421 right on the bell of the horn for a close-mic setup. On upright bass they used a Cascade FAT HEAD ribbon mic and a direct input into a Demeter Tube DI. For grand piano, they used an Oktava 012 pencil condensers close-miked. They also placed a spaced pair of U 87s in the room and kept low in the mix, and chose to use minimal processing going to Pro Tools, allowing the natural room tone to speak for itself…Pop singer Catie Lee worked on recording and writing for 7Grand Productions, with Clay Sheff producing and Murphy engineering. Lee’s vocal chain consisted of a Neumann U 47 into a Neve 1063 preamp, into a Tube-Tech PE 1C EQ into Tube-Tech CL 1A compressor…Brooklyn-based group Flatbush Zombies came to Studio B to rehearse for a performance on The Tonight Show Starring Jimmy Fallon with the Roots. Murphy engineered the project…Moxie Raia worked on preproduction for Barclays Theatre, with Murphy engineering.
Scott Jacoby (left) & Cory Henry in Eusonia Studios
Cory Henry worked on The Funk Apostles (Ground Up/Universal) with Eusonia owner/engineer Scott Jacoby co-producing with Henry, and Jacoby, Jack Dine and Easton Morang engineering (Jacoby also mixed). Henry did most lead vocals on a vintage RCA 77DX through an Avalon 2022 pre, a Tube-Tech CL 1B and a Burl B2 Bomber ADC. Other vocals were on a vintage Shure 520 SLB…Michael Blume worked on the song “The Same” (S-Curve), with Jacoby and Blume co-producing and Jacoby, Dine and Morang engineering (Jacoby also mixed). They used vintage Sequential Circuits Prophet T8 all over the track through API 512 pre’s…José James worked on the song “Live Your Fantasy” (Blue Note), with Jacoby and Tario Holmes producing and Jacoby, Dine and Morang engineering. James’ lead vocal was done on a Charter Oak 538B through a vintage Neve 1084 pre, a Tube-Tech CL 1B and a Burl B2…Pressing Strings worked on an EP, with Jacoby producing and Neil Dorfsman, Jacoby and Dine engineering (Jacoby also mixed). They used Shadow Hills Mastering Compressor, Chandler Curve Bender, Soundtoys plug-ins and Massey Plugins…Documentary producer James Jacoby worked on a documentary for PBS Frontline, with Scott Jacoby composing with musicians Steve Hudson, Hill Greene and Michael Sarin. Scott Jacoby, Dine and Morang engineered (Scott Jacoby also mixed). They used an SSL G Series Bus Compressor, Manley Massive Passive, Retro Instruments 2A3 and Electronaut M63 tube pre.
Reed Black at Vinegar Hill
VINEGAR HILL SOUND
Solange Knowles was in the studio with owner/engineer/producer/mixer Reed Black. They used tons of keyboards, from a 1906 Steinway O to a vintage Yamaha DX7. Keyboard choice and layers were the ticket to making the right soundscapes for Knowles’ songwriting…Sorcha Richardson worked with producer/engineer Eben D’Amico (Black mixed the project). D’Amico and Richardson produced a mixture of guitars and austere vocals with a highly orchestrated backdrop of synthesizers and samples. Richardson’s vocals were processed using granular synthesis to create a broad spectrum of effects. Black ended up re-amping all the guitars, which had been recorded DI for workflow reasons, through an unusually wide variety of amps, mics and mic positions to make every guitar tone unique…Jungle Junkies did a full-band recording with “keeper” tracks for all instruments except for vocals, with Black engineering and mixing. They put the amps in the iso booth and got great separation keeping them decently close-miked. The drums, guitarist and bass player were together in the live room to keep the vibe authentic and the instrumentalists interacting throughout the songs. Vocals were recorded through a Neumann M 249b…Chely Wright recorded vocals through a Bock 251, driven decently hard through a Neve preamp and a Retro Instruments 176, followed by a Sphere 920 thumbwheel EQ. Joe Henry produced and Black engineered…Composer TJ Walkley worked on the score for the original soundtrack for the film Wilde Wedding, with Geoff Sanoff engineering. They put as many musicians in the room as possible. Drums along with upright bass (miked with an original AKG C12 and a Neumann KM 184) and guitar amps in the booth; strings and harp played as a section, horns. The goal was to take advantage of the 16-foot ceilings and good-size room to get an organic blend of instruments in the room mics, which were Neumann M 249bs.
Michael League (left) & David Crosby at Flux Studios
KAMAU worked on the EP A Gorgeous Fortune in the Revolution Room with producer NoWyld and engineer Ryan West. They used a Lauten Audio Atlantis and Great River 500 Series preamp for vocal tracking…Jessica Molaskey worked on a Joni Mitchell project in the Dangerous Room with producer John Pizzarelli and engineer Bill Moss…David Crosby worked on the album Lighthouse in the Fabulous Room with producers Michael League and Fab Dupont (Dupont also engineered). They used all analog reverbs (EMT 140, BX10, BX20)…Jeremy Kisling worked in the Dangerous and Fabulous rooms with Dupont producing and engineering. They used a Dangerous 2-Bus+, Pro Tools 12 and Dangerous Music Convert-8...Amy Lee worked with producer Guy Sigsworth and engineer Jake Miller in the Dangerous Room.
Studio B SSL J9000 Control Room at Premier Studios NY
PREMIER STUDIOS NY
Nicole Scherzinger was in Studio E Production Room working on vocals for the Dirty Dancing soundtrack (Lionsgate Media) with producer Adam Anders, engineer Alex Anders, and assistant Angelo Payne. They used a Neumann U 87 mic through a Neve 1080 and a Vintage Teletronix LA-2A…Justin Bieber was working in the Studio B SSL J9000 Room writing and on vocals (Universal Music), with various producers, engineer Ari Raskin and assistant Ignacio “Iggy” Lecumberri. They used a Sony C-800G through a Neve 1073 and Tube-Tech CL-1B…The show Love & Hip Hop (VH-1) season six (and now doing season seven) was filmed in both the Studio A SSL J9000 Room and the Studio B SSL J9000 Room. Eastern TV produced, with engineers Angelo Payne & Gonzalo “Geeflow” Contreras and assistants Lecumberri and Derlis Chavarria. They used a Sony C-800G through a Neve 1073 and a vintage Teletronix LA-2A…Stephen Colbert did voiceover work for The Mindy Project (Fox Television) in the Studio A SSL J9000 Room, with producer Jacob Merryman, engineer Steven Mackiewicz and assistant Andrew Goetz. They used a vintage Neumann U 47 mic through a Neve 1073 and the Teletronix LA-2A, and also Telos Zephyr Xstream ISDN @48k…Nick Jonas and Ryan Tedder from One Republic worked on filming two shoots for the Beats By Dre Selfie Commercial (Apple Music/Beats One Music) in the Studio B SSL J9000 Room, with producers Ramble West and Justin Benoliel, engineer Contreras and assistant Carlos Vives. They used a Neumann U 47 mic through a Neve 1073 and the Teletronix LA-2A…Jeffrey Wright worked on voiceovers for a major motion picture (Pixar, Inc.) in the Studio B SSL J9000 Room with producer Jeremy Slome, engineers Andy Manganello and Mackiewicz and assistant Vives. They used a Neumann TLM 170 mic through Focusrite Red7, a PolyCom System, and a Telos Zephyr Xstream ISDN @48k…Mac Miller worked on vocals and mixing for a new album (Warner Bros Records) in the Studio B SSL J9000 Room with engineer Vives and assistant Derlis Chavarria (Miller self-produced). They used a Sony C-800G mic through a Neve 1073 and a Teletronix LA-2A.