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| Studio 17 | |
|---|---|
| Name | Studio 17 |
| Type | Recording studio |
| Location | Midtown Manhattan, New York City |
| Founded | 1979 |
| Founder | Michael Lancaster |
| Owner | private |
| Notable people | Quincy Jones, Madonna, Bruce Springsteen, Stevie Wonder, Nile Rodgers, Rick Rubin, Phil Ramone |
| Genres | Pop, Rock, R&B, Hip hop, Jazz, Electronic |
Studio 17 was a landmark recording facility in Midtown Manhattan that operated from the late 1970s through the early 2000s and became a nexus for pop, rock, R&B, hip hop, and jazz production. The studio hosted sessions by a wide array of performers, producers, and engineers and played a role in several commercially and critically significant albums. Its reputation derived from distinctive acoustic design, high-end analog and digital equipment, and a staff that included influential producers and engineers.
Studio 17 opened in 1979 amid a period of renewal for New York City recording culture, coinciding with notable developments such as the rise of MTV, the evolution of disco, and the emergence of hip hop in the Bronx. Founded by entrepreneur Michael Lancaster with investment from a group that included executives from Arista Records and CBS Records, the facility was designed by acoustician Tom Hidley, who had worked on projects for Capitol Records and Abbey Road Studios. Early clients included session players associated with Steely Dan, Aretha Franklin, and David Bowie, while producers such as Phil Ramone and Quincy Jones booked the large live room for orchestral overdubs and rhythm tracking. In the 1980s Studio 17 became identified with high-production pop tied to artists represented by Sire Records and Warner Bros. Records, later pivoting in the 1990s to host Nas, Wu-Tang Clan, and producers tied to Def Jam Recordings and Bad Boy Records. Changes in the 2000s—rising real estate pressures in Manhattan and shifts toward boutique studios like Electric Lady Studios and mobile recording—led to the sale of the property and repurposing of the space by 2004.
The flagship complex included a large live room, two isolation booths, and three control rooms; control Room A featured a custom Neve 8068 console previously used on sessions at Trident Studios and components by API and SSL imported from sessions held at Olympic Studios. Monitoring was handled with a combination of Yamaha NS‑10s, custom JBL monitors, and modified Bowers & Wilkins designs used also at AIR Studios. Outboard gear included vintage Universal Audio 1176 compressors, Teletronix LA-2A units, EMT plate reverbs similar to those at Capitol Studios, and a collection of microphones—Neumann U47, AKG C12, and Shure SM57—that mirrored setups common to sessions for The Rolling Stones and Prince. The studio maintained a selection of vintage keyboards and synths: Fender Rhodes, Wurlitzer, Minimoog, Sequential Circuits Prophet-5, and Yamaha DX7 models prominent in recordings by Stevie Wonder and Toto. For orchestral sessions, the facility provided scoring stages and liaised with contractors who had worked for the New York Philharmonic, Metropolitan Opera, and Broadway productions such as A Chorus Line. The engineering staff adopted hybrid workflows combining analog tape machines—Studer A800 multitrack recorders similar to those used on Pink Floyd sessions—with emerging digital systems like Avid Pro Tools, reflecting transitions seen at studios such as Sunset Sound.
Over its operational lifespan, the studio hosted sessions for internationally recognized releases and influential local projects. Major pop and rock artists recorded there, including sessions for performers associated with Columbia Records, Geffen Records, and Island Records; specific acts included collaborations with producers linked to Madonna, Bruce Springsteen, David Bowie, and Paul Simon. R&B and soul projects involved musicians connected to Motown Records and producers collaborating with Stevie Wonder and Aretha Franklin. In hip hop, the studio was used by artists tied to crews like Wu-Tang Clan, solo artists such as Nas and Notorious B.I.G. through engineers who also worked for Def Jam Recordings and Bad Boy Records. Jazz sessions featured sidemen from ensembles affiliated with Blue Note Records and arrangers who had worked with Miles Davis alumni. Film and television scoring clients included composers associated with Universal Pictures, Sony Pictures, and the Broadway scene, linking to projects for productions reviewed in venues like Lincoln Center.
Ownership changed over time: initial investors included executives from Arista Records and CBS Records, while day-to-day management relied on a core team combining studio managers, chief engineers, and a booking director who had previously worked at Electric Lady Studios and Power Station. Notable managers and producers who served as in-house staff included engineers who had credits with Phil Spector, mixers who had worked for Tchad Blake-affiliated sessions, and production staff who later joined executive ranks at Sony Music Entertainment and Universal Music Group. In the late 1990s a private equity group with interests across Manhattan real estate acquired the complex, initiating capital upgrades that included digital conversions and client amenities to compete with studios such as Avatar Studios.
Studio 17 contributed to New York City's sonic identity during pivotal decades for popular music, intersecting with cultural movements tied to MTV, the downtown punk and No Wave scenes, and the mainstreaming of hip hop. Music journalists from outlets like Rolling Stone, The New York Times, and Billboard reviewed albums recorded at the facility, noting its blend of vintage warmth and contemporary clarity in production. Critics compared its acoustic character to that of Atlantic Studios and Power Station, while producers cited its large live room as conducive to rhythm sections and horn arrangements heard on records distributed by Warner Bros. Records and Sony Music. The studio's session rosters linked it to industry trends tracked at trade organizations such as NARAS.
Projects recorded or mixed at the studio received nominations and awards at institutions including the Grammy Awards, the Academy Awards (for Original Score work), and various critics' circles. Engineers and producers credited with Studio 17 sessions were recognized by Grammy Hall of Fame inductions and by lifetime achievement honors awarded by organizations like ASCAP and BMI. Specific album credits tied to the facility appear on releases that won Major League accolades and chart success under labels such as Columbia Records and Island Records.
Category:Recording studios in New York City