Where Pop Icons Tested the Mikes

Published in NY Times

Britney Spears recorded a demo here. Christina Aguilera, Mandy Moore and Jessica Simpson recorded tracks for their first albums here. JC of NSync recorded vocals for "God Must Have Spent a Little More Time on You" here.

And Al Hemberger, the self-described Grand Fromage of the Loft Recording Studios in Bronxville, where all these MTV darlings have tested the mikes, has some advice for musicians who want to record their own music: don't open a recording studio. "If you do, the last thing you'll get to work on is your own music,'' said Mr. Hemberger, who owns the studios.

Before the Loft was a recording studio, it was a children's film and theater center, founded in 1968 by two students from Sarah Lawrence College and two Bronxville moms. "I got involved in the Loft in 1969 when I was 16,'' said Mr. Hemberger. "My brother played drums and I had a light show for his band. I also wrote music for the shows. That evolved into recording.''

The theater center eventually faded away, and Mr. Hemberger gradually took over the space.

There are now three recording studios at the Loft, outfitted with analog and digital recording equipment. An eclectic mix of music - from pop, rock and rap to jazz, blues, folk and reggae - is recorded in the soundproof rooms. Mr. Hemberger - an engineer and producer - credits the long list of artists who've recorded at the Loft to the independent producers who make these studios their base of operations. Carl Sturken and Evan Rogers, co-owners of Syndicated Rhythm Productions, are among those who have brought a number of young pop performers to the Bronxville facility. "The Loft is unlike any other studio environment in the New York area,'' said Mr. Sturken. "It's the antithesis of the Manhattan studio: it's relaxed and homey. We feel like we're part of a big family here, and no one's watching the clock All of these things are attractive to us and to our clients.'' One of these clients is Saxaphonist Dave Koz, who worked as a studio musician for Mr. Sturken and Mr. Rogers in the mid-80's before his own career took off. "When it came time for me to make my first album for Capital in 1988, I thought I've gotta hang out with Evan and Carl," remarked Mr. Koz. "Without question the most fun I have while working on my music is when I am with them in Bronxville. I've written a lot of songs with Evan and Carl that have become hits in my format and we have a certain magic that happens when the three of us get together." Describing himself as a true California boy at heart, he also likes the warmth of the studio's atmosphere. "The greatest thing about the Loft," he explained, "is that it doesn't matter whether you're Britney Spears or me or some guy who's just working on his first demo, the experience is the same for all of us. It's like a little haven. You walk through the door and there's no pretense. It's a warm environment, and I think when you listen to the music that's recorded there-whether it's a super star or whether it's a struggling singer/songwriter-there's a warmth to it."

Those who assume that the laidback atmosphere and the lack of pretense means the end product will be inferior, said Mr. Sturken, are quickly proven wrong. "Technically we're operating at the same quality as the high-end recording studios,'' he explained. "The artists we work with are pleasantly surprised that something like this is so close to Manhattan. They love the idea that they can hop on the train and come out here and be in another world.''

True, many of the pop icons who hopped that train were unknown when they did, and few of them have returned.

"These young pop stars are all over the place,'' said Mr. Hemberger. "We didn't know what level of success they would achieve when they were here. Many other young artists have come through here that haven't achieved this level of success. People get all excited about the pop stars, but you don't have to be famous or have a large project to record here.'' Flexibility is important to the growth of his business, explained Mr. Hemberger. Digital technology has changed the recording industry in the past several years, making it possible for more musicians to afford to own their own recording equipment. The engineers and producers at the Loft are experienced in taking on the most complicated recording projects, but Mr. Hemberger explains they also help musicians or producers complete projects begun elsewhere. Studio time and the other services at the Loft are billed by the hour, so recording some of the music in advance and then mixing it or laying down additional tracks at the professional studio can cost a musician less, especially if he or she is recording on his or her own equipment.

With overhead expenses lower in Bronxville than in Manhattan, costs can come in lower, said Mr. Hemberger, though it depends upon the studio and the project. The basic fee for studio time at the Loft is $100 per hour, but that cost can rise depending upon the project and the engineer. If one of the most veteran engineers is working on the project, it can be more expensive. "We quote our rates depending on the project and the engineer requested," said Mr. Hemberger.

Matt Noble, an independent producer and songwriter has returned to the Loft after owning his own studio in Manhattan for several years. He is currently working with Southside Johnny and the Asbury Jukes in Studio A, co-producing their latest album, due out in June. During the past fifteen years, he has brought projects large and small to the Loft, from scoring the film "Jason's Lyric,'' to recording an alternative rap group, Son of Eve.

"One of the reasons I record here," said Southside Johnny, "is because Matt Noble is here. He's so easy to work with and he's got a great ear and great ideas. I have recorded in almost all of the big studios in New York and many in the other big cities like L.A. and Chicago. The great big studios can be very expensive and they make you think you're supposed to come in and get it done and get out. Small studios like this are very friendly and the people are nice. You feel like you can relax and the real music comes out of you."

Each studio at the Loft contains a live room for recording, a lounge, a control room and a pre-production room, where clients can compose music. "We've always used the tried-and-true equipment, upgrading only when it was clear that we should,'' he explained. "When we were losing work to other studios because we didn't have 24-track equipment, we upgraded from 16-track; but we waited until the time was right to go digital. Now we have the best of both worlds." After putting his business before his own music career for the past 26 years, Mr. Hemberger is once again writing and recording his own work. Along with his brother Ted, he belongs to a band called the Renovators. They release their records on their independent record label, Berger Platters, and perform in local venues.

The Loft's latest inductees into the music business are young interns from local colleges who have been training with the veteran engineers there for the past two years. With these additional engineers and a new studio set up for live bands, Mr. Hemberger hopes to entice more bands to the studios. The next Loft project that may go big is by a performer named Javier, who, said Mr. Hemberger, has just signed a record deal.

It's not just performers on their way up who have made recordings at the Loft. Pete Seeger, Taj Mahal, Sue Foley and Procol Harum have worked here; the Skatalites recorded their 30th anniversary album here.

Mr. Hemberger's love of music and gregarious personality keep musicians coming back to the Loft, he said. "Artists come in with stories of producers who didn't even talk to them,'' he remarked. "Under those circumstances, nothing is fun and the whole thing is a drag. Everybody got into the music business because they thought it was going to be fun, so we try and make sure it's fun.''