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Greene St. Recording

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252:, which improved the studio's income enough to keep it viable. Later in 1975, Lew wanted to divest his share of the studio, which was sold to two clients referred by McKenzie, Billy Arnell and Steve Loeb. The transition was not smooth, as it had been agreed that McKenzie would be paid 10% of the purchase price paid for shares of the studio by any buyer he had referred, and McKenzie was denied this payment after the sale was completed. A lawsuit followed, McKenzie was paid and parted ways with the studio. 182: 57: 239:
In the early 1970s, Jeffrey Lew and Michael Reisman founded 112 Greene St. Recording Studio as a private recording studio used by its owners and their friends. In the summer of 1975, the owners realized that the cost of running the studio for themselves and their friends was not sustainable. Lew
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In 1983, Dave Harrington commenced as studio manager. The studio's engineering team included Rod Hui, Nick Sansano, Jamey Staub, Andrew Spigelman, Chris Shaw, Phil Painson, Prince Strickland, Charlie Dos Santos, Chris Champion, Djini Brown, and Danny Madorsky. In 1986, Greene St. underwent
291:. Former Woszczyk assistant Rod Hui became chief engineer and Robyn Sansone became studio manager. In the first year as Greene St. under Loeb, Hui and Sansone, Greene Street recorded and mixed a number of records, including the three groundbreaking hits 515:
Soon after the closure of Greene St. Recording, owner Steve Loeb, along with record producer artist John Robie, launched The Combine at 112 Greene Street. The new space presented a multimedia urban art project entitled "Work To Do" that featured 52
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profile of a cassette tape from the Greene St. studio. The tape's label is branded with the studio's branding and a hand-written title indicates that the studio was used for the recording of the song "
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bassist Sir Paul McCartney. A December 2011 media article showed that Stella McCartney continued to use the 5,200-square-foot space for her flagship retail outlet at that time.
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renovation, and an additional two rooms were added to the studio, in which the studio owners installed audio technology that was new to New York at the time (an AMEK APC 1000
1218: 244:'s friend, Peter McKenzie, to manage the recording studio and bring in outside commercial business so the studio could financially support itself. McKenzie, whose family 1319: 21: 1324: 1299: 801: 1294: 685: 613: 308: 1446: 775: 765: 1233: 1258: 248:
had lived with in 1961 when McKenzie was 15, agreed to work for the studio, using his connections to bring in new recording clients, such as
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artists. In 2011 the space was rejoined with the upper floor, reforming its original configuration, and leased to fashion designer
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and became a partnership between Michael Riesman and producer Steve Loeb. The new studio manager was
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In 1983, Loeb bought out Riesman and became the sole owner of the studio, which was renamed
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effect. Sonic Youth recorded their seminal career defining album "Daydream Nation" here.
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moving fader automation, and a pair of Roger Quested tri-amped speaker systems).
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The list of artists who recorded at the Greene St. studio includes:
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that was used there, which gave many of his productions a
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Chelsea Career & Technical Education High School
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Pete Rock: 'Real Could Be Another Word For Original'
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frequently recorded at the studio, having liked the
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