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The Bunker Studio

The Bunker Studio Contact information, map and directions, contact form, opening hours, services, ratings, photos, videos and announcements from The Bunker Studio, Music production studio, New York, NY.

Operating as usual

We have quite a few tape machines and aren’t at all hesitant to use them… but we also have a pair of #500series tape emu...
11/24/2022

We have quite a few tape machines and aren’t at all hesitant to use them… but we also have a pair of #500series tape emulators by @rupertneve designs (top center of the frame)
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The experience of using these isn’t quite the same as using an actual tape machine, but they do something incredibly useful in their own right
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They really prove useful in mix scenarios to add just a bit of excitement/interest when a source is coming back lackluster in some way
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They work really well to smooth out things that present a little on the harsh side, or to add some character to a capture that’s a bit sterile or bland
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They can be used in a manner that’s extremely subtle (“level to tape”, wet-dry mix, and various types of saturation are all variable), or they can be pushed a little
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#rupertnevedesigns #rupertneve #RND542 #tapeemulator #500seriesgear #500seriesrack #indie500 #studiogear #studiolife #recordinggear #mixgear #mixengineer #mixing #creativemixing #mixroom #mixstudio #NYCmixroom #NYCmixstudio #mixengineerlife #musicproducer #rupertneve

Conventional wisdom blames #CBS for a perceived reduction in quality at #Fender in the mid-late 1960s.Reality is probabl...
11/22/2022

Conventional wisdom blames #CBS for a perceived reduction in quality at #Fender in the mid-late 1960s
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Reality is probably more complicated—most musical instrument companies saw a massive surge in demand as the entire boomer generation almost simultaneously became interested in picking up instruments (particularly in the wake of the Beatles’ popularity)
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Purportedly, one reason Leo Fender sold the company was due to the stress posed by too much growth pressure (including massive backorders on many models)
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A similar thing happened at Gibson around the same time—while their own corporate buyout (by Norlin, in ’68) is often blamed for slumping quality, things were already looking a bit frayed by the time Ted McCarty left in ’66
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Both companies (as well as others, like Ludwig and Gretsch) had to massively scale up operations to meet demand. This meant lots of new workforce, new facilities, efforts to maximize efficiency… all of which came with some growing pains
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Our ’68 Fender #superreverb (on the right) here is functionally-identical to its earlier black-panel counterpart, and our mid-70s #princetonreverb (left) is likewise little-changed
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The larger amp would have its #AB763 circuit retired later the same year, but the smaller Princeton only saw a few component suppliers come and go throughout its run (the #AA1164 circuit remained)
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Both of these are fantastic amps, as are many #CBSFender instruments. There is something special about the low-production Leo-era, but these later amps and guitars have their own thing as well
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#fenderamp #postCBS #cbsfender #leofender #fenderamplifier #fendersuper #fenderprinceton #fendersuperreverb #fenderprincetonreverb #superreverb #princetonreverb #guitaramp #guitaramplifier #vintageamp #vintageguitaramp #vintageguitar #guitarrecording #guitartracking #trackingstudio

Sometimes microphones defy stereotypes.There are a lot of common assumptions about #microphones, and while many have som...
11/21/2022

Sometimes microphones defy stereotypes
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There are a lot of common assumptions about #microphones, and while many have some basis in truth, they can easily lead you astray
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This mic (a #Sennheiser #MD441) is a moving-coil dynamic that has many of the characteristics usually associated with condensers
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It’s rather bright, with a substantial top-end lift. Its pattern stays reasonably good across its bandwidth, and it’s capable of being quite detailed
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It could be thought of as a “dynamic for people who like condensers,” and its range of application is consequently quite wide
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They make great vocal mics, particularly in live tracking situations where minimizing spill is a concern. There are some vocalists who sound better on an MD441 than on any other mic
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Another thing they have in common with condensers is that they tend to be just a bit more on the expensive side. But for a single mic to use in a home recording environment, they represent an excellent choice
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#sennehiserMD441 #MD441u #dynamicmic #vintagemic #miclocker #recording #recordingstudio #microphone #affordablemicrophone #vocalmic #studiolife #recordingengineer #trackingstudio #NYCtrackingstudio #NYCrecordingstudio #sennheiser441

If you’ve ever used a plug-in or stompbox compressor that features an “opto” or “optical” setting, the #compressor in th...
11/19/2022

If you’ve ever used a plug-in or stompbox compressor that features an “opto” or “optical” setting, the #compressor in this picture is almost certainly one of the two devices it’s principally seeking to emulate
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The #UREI LA-3A is the solid-state successor to the Teletronix #LA2A (which would be the other of the two devices!)
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The #LA3A and its vacuum tube ancestor both use the same mechanism to control dynamics: the #T4B photocell
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Inside a T4B is an electroluminescent panel and a light-sensitive photoresistor. When signal is applied to the EL panel, it lights up, activating the photoresistor. Louder signal equals brighter light (and more resistance). When the photoresistor is appropriately-configured in the circuit, this makes for very effective gain reduction!
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But there’s an originally-unintended side effect: old EL panel technologies resulted in a kind of “slow fade-out” effect. The light could come on fairly quickly, but if it stayed brightly-lit for a long period of time, it’d take awhile for the light to totally die away
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As a result, LA-2As and LA-3As have kind of a multi-staged release characteristic that’s highly program-dependent. If it’s compressing for a long time, the release will be fast at first, then slower. As luck would have it, this sounds very natural in some applications, and is often imitated using other means
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#compressor #UREILA3A #universalaudio #universalaudioLA3A #LA3 #studiogear #mixgear #mixroom #mixengineer #mixing #recording #recordingstudio #recordinggear #studiogear #studiolife #studioengineer #rackgear #vintagegear #vintagestudiogear

Someone recently asked for pics of a #keyboard setup that we had up on the console in another post.Clockwise from foregr...
11/18/2022

Someone recently asked for pics of a #keyboard setup that we had up on the console in another post
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Clockwise from foreground: #Wurlitzer200, #Rhodes Suitcase Piano, 19th century #Steinway C concert grand piano, and Hohner Clavinet/Pianet duo
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This is sort of a greatest hits of mechanical-action #keyboards you’d find in a studio (sorry no harpsichord in the shot!)
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These are oriented in our Studio A #liveroom; clearly someone had a lot of keyboards they wanted to play that day!
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#vintagekeys #vintagekeyboards #vintagepiano #electricpiano #studiopiano #keyboardist #keyboardrecording #pianorecording #recordingstudio #recordingsession #trackingstudio #trackingsession #sessionkeyboardist #NYCtrackingroom #NYCtrackingstudio #suitcaserhodes #rhodessuitcase #clavinet #pianet #hohnerclavinet #clavinetpianetduo

In #audio (as with any other pursuit), it pays to critically evaluate old thinking. Technologies and their implementatio...
11/17/2022

In #audio (as with any other pursuit), it pays to critically evaluate old thinking. Technologies and their implementation are developing all the time, and sometimes conclusions reached decades ago no longer apply. Continuing to labor under old assumptions can cause us to miss a lot
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When #digitalaudio was new, there was much to be learned, much development yet to come, and some pretty poor implementation for the first decade or two. This has led to broadly-held suspicion of digital devices (and fetishization of #analog ones) that continues to this day
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We love our analog gear and processes as much as anyone (and more than most!), but it’s not fair to judge 21st century digital devices by the performance of their 20th-century ancestors
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The @eventideaudio #DDL500 digital delays in this picture serve as a great example of just how good a well-designed #digitaldelay can be
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#Eventide were smart enough to let elegant analog stages do the heavy lifting for much of the signal path, using a 192kHz digital record and playback path to store signal only
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Put another way, the in-built amplifier, relay-controlled bypass, feedback circuitry, low-pass filter, and a soft-clipping “saturation” function are all analog, and a pristine 192kHz DA/AD and recorder handles audio storage and retrieval
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That 192kHz digital recorder would’ve, incidentally, been the envy of most professional digital recorders last century… and it’s used here for a simple 500-series delay. We’ve come a long way!
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#eventideDDL500 #eventidedelay #eventideclockworks #500seriesgear #500seriesdelay #500seriesrack #indie500 #500series #studiogear #rackgear #recordinggear #mixgear #mixroom #mixengineer #analogdelay #digitaldelay

We made this #subkick forever ago and it’s still one of our favorites.Subkick is the common name for a speaker used in r...
11/15/2022

We made this #subkick forever ago and it’s still one of our favorites
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Subkick is the common name for a speaker used in reverse, as a mic (to record #kickdrum)
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This practice has been fairly common since the 1980s; its lineage is inextricably tied to the Yamaha #NS10 nearfield monitor
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The weak point of the early NS10 (pre-NS10M) was the tweeter—the voice coil would frequently fail, leaving many commercial studios with lots of extra white-coned NS10 drivers lying around
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Eventually it occurred to someone to place one in front of a bass drum and patch it to a mic input—this would’ve yielded a thunderous low end
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This works for two reasons, one simple, the other a bit deeper. The simple reason is that a speaker is built a lot like a moving-coil dynamic #microphone: both have a coil of wire within a magnetic field that's attached to a diaphragm (of sorts)
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In a speaker, you run current through the coil of wire to make it interact with the magnetic field by moving in-and-out in proportion to the signal. But you can also operate it like a mic: causing the cone (diaphragm) to vibrate in response to sound pressure in order to induce a signal current in the coil
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So that's why it works. But why does it work so well? To know that we have to dig into the Thiele-Small parameters of the NS10 woofer
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Every speaker has a set of parameters that define its operation. These help speaker system designers compensate for the behaviors of real-world devices with their cabinet and crossover designs
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One of these parameters is called the "Fs", or free-air resonant frequency. This is the frequency at which the driver will self-resonate (if left uncompensated, this creates a big bump in the response)
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The Fs of the NS-10 woofer is 54Hz. In addition to capturing something of the kick drum's sound, the NS10 woofer will also generate energy at this frequency from its self-resonance, which will hang over in time just a bit.
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It's almost like having a tiny bit of 808 kick drum blended in! Our favorite subkick isn't an NS10 woofer but a random small speaker we found. We don't know its Fs, but we know it sounds great for us
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#drumsound #drumsounds #drumrecording #kickdrum

In a modern #recording and #mixing workflows, we tend to want real-time control over #compressor parameters like thresho...
11/14/2022

In a modern #recording and #mixing workflows, we tend to want real-time control over #compressor parameters like threshold, attack and release time constants, and make-up gain
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But in earlier eras—particularly when these devices were used in broadcast and telecommunications contexts—these parameters were often treated as “set and forget”
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This is betrayed by these two controls situated behind the front panel of the #maxson Department of Commerce #CA1529 limiter in our racks
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This old #variablemu tube compressor was originally used by the Civil Aeronautics Authority (now called the FAA) for air traffic control communications
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As a result, there wasn’t much need to adjust for a wide range of sources, and nuance wasn’t the goal—speech intelligibility was
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The “regulation” trimmer on the right increases the amount of compression, and the “output level control” on the left allows for different amounts of make-up gain
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There’s only one large k**b—a stepped input attenuator—on the front panel
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Given its original speech focus, bandwidth on this unit is rather limited, with a smooth roll-off of the extreme top and bottom. But for midrange-focused sources like guitars, it’s pretty fantastic sounding. It’s also great in a parallel vocal processing chain
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#maxson #deptofcommerce #departmentofcommercelimiter #maxsonCA1529 #maxsonCA1539 #maxsonCA1539 #tritronics #rackgear #studiogear #studiolife #Mixgear #mixengineer #mixengineering #mixstudio #mixroom #carboncomp #carboncompresistors #carboncomposition #vintageelectronics #tubecompressor #tubelimiter

When most people think of a #Pultec EQ, they imagine a vacuum tube device. But solid-state versions existed as well, and...
11/12/2022

When most people think of a #Pultec EQ, they imagine a vacuum tube device. But solid-state versions existed as well, and are still made by @pulsetechniques
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While we love a good tube Pultec, we prefer the solid-state EQP-1A3SS on many sources. There’s still plenty of transformer coloration, and the passive EQ section is exactly the same. But the low-end in particular is a little bit different in character; a little bit more rigid and solid
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Passive EQs are inherently lossy (about -20dB in this case), so an amplifier of some kind is required for makeup gain. In the earlier Pultecs this was provided by a simple two-tube plate follower amp consisting of a 12AX7 followed by a #12AU7 in push-pull (as an output tube)
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Slightly later Pultecs like the EQH2 used a different line-amp: a single-ended 6AQ5 output configured as a cathode follower. This allowed the elimination of the interstage transformer and allowed the use of a less-arcane output transformer (the EQP-1A has the very-complex and expensive Peerless S-217D)
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Later still came the solid-state units, which have a discrete output amplifier very similar to an API line amp
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All three amplifier topologies have their distinct personalities, and all are great!
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#pultec #EQP1A #pultecEQ #pultecEQP1A #EQP1A3 #EQP1A3SS #solidstatepultec #tubegear #studiogear #rackgear #studiorack #recordinggear #mixgear #mixroom #trackingroom #trackingstudio #mixstudio #mixingstudio #mixengineer #trackingengineer #recordingengineer

Looks like someone pulled out all the #vintagekeyboards on this session—#piano, #wurli, #rhodes, and #clavinet.It seems ...
11/11/2022

Looks like someone pulled out all the #vintagekeyboards on this session—#piano, #wurli, #rhodes, and #clavinet
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It seems doubtful that all of these would’ve been used on the same track, but it’s not too much of a reach to imagine them being used on the same session
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Out of these, the most similar are probably the Rhodes and #Wurlitzer electric pianos, but even these are pretty different in timbre and how they sit in an ensemble
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A Wurlitzer has a characteristic throaty midrange growl that’s fairly unique and not easily-substituted. Likewise for the Rhodes’s cushiony, metallic timbre (it’s almost vibraphone-like)
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You’ll also notice that the Wurli is returned to a mono channel, while the Rhodes is stereo
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That’s because our #suitcaseRhodes has a really cool stereo tremolo/pan effect that’s become a hallmark of the vintage #FenderRhodes tonal palette
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#vintagekeys #neveconsole #neve8088 #neve8068 #neve8058 #keyboardrecording #keyboardist #studiolife #neve31102 #flyingfaders #neveflyingfaders #80seriesneve #80seriesneveconsole #neverecordingconsole #controlroom #recordingstudio #trackingstudio

Good digital tools can accomplish audio tasks that would be unthinkable in the #analog domain.But there’s also something...
11/10/2022

Good digital tools can accomplish audio tasks that would be unthinkable in the #analog domain
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But there’s also something really special about a good analog chain
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@alexdeturk has a cerefully-curated set of tools at his disposal, including these two pieces: one old, one new
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At the bottom of the frame is the famed #Sontec MES-430B… one of the best-sounding #parametricEQ devices ever made
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As these were originally designed for disc mastering applications (read: lacquer cutting), all controls are stepped switches. This ensured that the exact settings from a reference lacquer could be recalled exactly when making the final lacquer (the one that’s sent to the plant to be metal plated)
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From the factory the controls afforded 1dB steps, but this one has been—like many others—modified for half-dB steps instead. This shrinks the overall range of the k**b, but gives finer control within that range
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The @knifaudio Vari-Mu II compressor sitting above is a newer piece of gear that’s fantastic in its own right. Sometimes a touch of additional dynamics processing applied to the final mix can enhance the groove a little bit and make things sound just a touch more polished. The Vari-Mu II is excellent in that application
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#alexdeturk #audiogear #discmastering #vinylmastering #lacquercutting #masteringgear #masteringstudio #masteringengineer #audiomastering #masteringaudio #masteringlab #masteringroom #masteringengineers #knifaudio #knifvarimu #knifvarimuII #masteringEQ #masteringcompressor #parametricequalizer #sontecME430 #SontecME430B

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Recording with John Morgan Kimock, Eden Ladin, Andy Hess! At The Bunker Studio. Great chemistry, great takes! We all got along well, no fights! Notable that my friends Jon and Aaron build this studio from the ground up, I recall talking about it even while we where seniors at New School. Now they are one of the best options around!
In and out! Fun couple of days in NYC! What a fun session at The Bunker Studio in BK w/ Nick Finzer big band! Also this section was FUN🔥🔥 See you next month New York! This time for good❤️ Tonight I’m playing at the Elephant Room w/ Christian Wiggs from 9pm-1am. See you there! #iPlayYamaha #pickettbrass #earasersearplugs #robinsonsremedies #OutsideinMusic #originalmusic Yamaha Music USA Pickett Brass and Blackburn Trumpets Earasers earplugs Robinson's Remedies Outside in Music
This week’s #FeatureFriday is the perfect creative hideaway nestled deep in Brooklyn NYC. The Bunker Studio is a 3000sq ft complex owned and operated by musician/engineers John Davis and Aaron Nevezie, and was built to avoid the clinical, sterile feel the pair felt many high end studios had, whilst offering a level of acoustics and equipment far beyond the typical home studio setup. The result is a striking space with the acoustic flexibility to adapt to everything from rock bands to chamber orchestras – and one of the most accurate mixing environments you’ll find anywhere in the world. Studio A easily allows for live tracking of large ensembles with excellent sight lines and isolation. The huge live room with 25ft ceilings, string and rhythm rooms and iso booth each have their own unique character and provide inspiring acoustic environments in which to play. The control room features a vintage Neve 8088 console plus an extensive selection of vintage and modern outboard, and some sweet Abbey Road-style custom REDD47 tube mic pres which are exclusive to the complex. Studio B is a smaller tracking room, overdub and production studio with a large control room. The live room is 230sq ft with 12ft ceilings, and has hosted a range of tracking sessions from full rock/indie bands, bluegrass groups, horn sections to chamber ensembles. There’s a Neve 8058 in here, alongside an 8816 summing mixer offering 16 additional returns. Elsewhere in the complex is an exceptional mix room featuring an SSL 4040E/G, ATC 110s and access to the plate room which features two EMT 140 plates and an AKG BX-20 spring reverb. The mastering room is home to engineers Alex DeTurk and Colin Bryson, allowing the studios to offer a full range of services from basic tracking through mixing and expert mastering. For more info, click here: https://milocostudios.com/studios/the-bunker-studio/ Enquiries 📩 [email protected]
Psyched for the release of Brad Mehldau’s new album ‘Jacob’s Ladder’ on Nonesuch Records 🔥 I took the video above in my vocal booth at The Bunker Studio. Brad handed me a printout of a photo of the Penitent Magdalene by Donatello for inspiration. I looked in her eyes while I was singing Brad’s “Cogs in Cogs” Gentle Giant cover. I also sang/screamed on these other ‘Jacob’s Ladder’ tunes below: “Herr und Knecht” “Entr’acte (Glam Prelude) “Heaven (Pt. II, “Life Seeker”) The second video is of me tracking vocals for Brad in “tree pose”. 🌴 You can purchase the album and receive a free piano score download via Brad’s website: https://www.bradmehldau.com/
Run around NYC with us and catch clips of us in the studio at The Bunker Studio Introducing the music video for: S K Y S C R A P E R https://youtu.be/7DRDFkHTyqw Shot by us: Aaron and Jacque Edited by: Kate Bennis
FINAL SINGLE OUT TODAY: COME ON KIKI! 🤍 https://emilywells.lnk.to/RegardsToTheEnd “Come On Kiki” contains many images, beginning with the sculpture ‘Tied to Her Nature’ by the artist Kiki Smith. The song was written immediately after reading from ‘In the Shadow of the American Dreams: the Diaries of David Wojnarowicz’, in which Wojnarowicz describes dancing with Kiki Smith in the aftermath of their friend Peter Hujar’s death, though the song doesn’t tell this story. It tells, in part, my own, one of wanting more of exactly what I have, of desiring to move in time circularly, inside of all that has been experienced, and therefore gained. I was thinking a lot about Harry Nillson when arranging and recording: instruments and melodic phrases moving in and out of frame like dancers or extras in a play, set against the steady voice as storyteller. If I have a pet song on the album, this is it. Live Drums: Mike Thies Upright Bass: Evan Runyon Bass Clarinet, Clarinet: Hideaki Aomori French Horn: Jim Wells Live drum recording engineered by Nolan Thies at The Bunker Studio
Aaron was tired of making computer constructed music so he put a band together. November 1st of 2021, at The Bunker Studio in Brooklyn, we cut “Skyscraper” to the Studer 24 track tape machine with @aaron_nevezie on guitar, @johndavisnyc on bass, @danrieser on drums and @nolanthies producing the live session. I pinch myself that these class act incredible talents touched this track. The dearest dudes I heart so much! Thank you! Thank you! Thank you! Swipe ➡️ to see the making Album shot by: @edouglas528 Shots in studio: @nolanthies
Dreaming of the spring https://www.youtube.com/watch?v=0ftrGPwJADw Archive footage edited by Clare Elliott Song produced and mixed at New Warsaw Studio by Riley McMahon. Recorded at The Bunker Studio in Brooklyn. Spottiswoode: Lead vocals John Young: bass Tim Vaill: cymbals Kevin Cordt: trumpet Riley McMahon: mandolin Tony Lauria: accordion
!! Beyond the Bomb x Melt - we are so excited to release a video of our song Walk to Midnight. We recorded this live version in our last hour of studio time The Bunker Studio this summer – the studio isn’t the only place where we run short on time though. Today the @Bulletin of the Atomic Scientists made their annual announcement of how much time remains until nuclear “midnight” via the #DoomsdayClock. We're at 100 seconds, the closest to midnight that we've ever been. But, together, we can reverse the Walk to Midnight! #TurnBackTheClock
2022 spring tour + NEW SINGLE + Vinyl/CD preorders: https://emilywells.lnk.to/RegardsToTheEnd I’ll be touring the US this spring, a handful of dates supporting the fabulous band Son Lux and headlining the rest. Tickets go on sale this Friday Jan. 14 at Noon EST. After two years (mostly) alone in my studio writing and recording this album I truly can’t wait to bring these songs fully to life through your ears, imaginations, and physical presence. LOVE SAVES THE DAY out today! I joke that this song is my magnum opus because it took me several years to write the arrangements and complete. It has been stripped and redressed in various frocks of production but it wasn’t until I found my compositional voice for the new album that I knew how it was suppose to live. The cover is a painting, “April 14, 2018 (RIP David Buckel)” by an artist whom I deeply admire, Michael Stamm … more on that soon. And, PREORDER Regards to the End now via my website. Find all the things at the link above! Incredible insane performances on the clarinet, bass clarinet, and flute by Hideaki Aomori, the real star of this recording. + extreme delights and mind bending performances from Mike Thies on live drums which were engineered by Nolan Thies at The Bunker Studio + Topu Lyo on percussive piano & cello + Evan Runyon on upright bass + Jim Wells (my pops) on French horn + Damian Primis on bassoon. With production assistance from Chulo Records and mixed with Christopher Botta. 📷📷📷PHOTO by Rachel Stern
Happy New Year! Here’s my little arrangement of John Coltrane’s ‘Impressions’ from Robby Ameen’s latest album ‘Diluvio’. . . . Vandoren USAVandoren Musician's Advisory Studio NYCVandoren ParisPearl DrumsThe Bunker Studio
Beautiful way to end my studio dates for the year… Excited to share this one with you all soon. 😊 Troy Roberts 🎷 Paul Bollenback 🎸 John Patitucci 🎻 Jimmy Macbride 🥁…. . . . The Bunker Studio Vandoren Musician's Advisory Studio NYC Vandoren USA 📷 Anna Yatskevich
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