Roslyn Heights, NY-just 20 miles from
Manhattan and directly off the Long Island Expressway,
Sabella Recording Studio is a commercial facility that
has steadily boosted its profile as clients have found
success with recordings made here.
The
addition of Flying Faders automation, in late 1999, has
also contributed to Sabella's rise among the mid-level
recording facilities of the region. But
ownerJames Sabella, a guitarist,
producer and engineer, is supplying more than equipment
and space-his experience and ear for arrangements and
production are producing a growing track record of bands
signing major label deals on the strength of their work
at Sabella.
Designed and built by Frank Comentale, Sabella is a one-room,
floated facility featuring a Neve 8068 Mk II console.
An appreciation for Neve boards-and analog gear such as
Pultec tube EQs, of which Sabella has nine-comes from
James Sabella's acquaintance with John King of New York's
Chung King Studios, he recalls. "He was my early mentor,"
says Sabella. "He also turned me on to Pultecs and all
that kind of stuff. One of the reasons we did Public Enemy's
first album is because we had Pultecs here. They wanted
a big bottom. John turned thetn onto that."
With
equipment comparable to-but rates lower than-Manhattan's
better rooms, Sabella began hosting more New York-based
clients after recording several punk bands for a Johnny
Thunders tribute album. But it was Long Island-based Marcy
Playground, whose eponymous 1997 Capitol release was recorded
at Sabella, that better defines the studio and its owner.
"It was a group thing," says Sabella. "It wasn't me, but
I was the focal point. These guys walked in and didn't
know anything about this console. We work with them. The
bands come in, we help them out with arrangements. We
are a production team- we listen to records, we show them
why records sound a certain way. We make a musical connection."
Shapeshifter, the followup to Marcy Playground, was also
recorded here.
That
success was recently repeated when the group Nine Days
signed to Sony/550 Music, and for Sabella, is further
confirmation that his services extend beyond recording.
"I want to be a producer-I don't just record," he says,
adding that he hopes to formalize and acknowledge his
abilities as a producer with a position at a major label,
discussions for which are underway. "I know how a record
should sound, arrangement-wise. Most bands I work with
get to that level, once they work with me. Now, I'm looking
to get involvedon the contract level."
Meanwhile, the clients flocking to Sabella on the basis
of Marcy Playground's success enabled its owner to install
Flying Faders, replacing an earlier automation system.
His only regret , Sabella says, is that he didn't do this
sooner. "The console is one thing, but Flying Faders,
to me, is the most incredible automation out there. I
wish I could have afforded it 10 years ago. A lot of producers
came through here-Michael Barbiero, Steve Thompson-many,
many times. They were coming up in their careers again,
and we did so many 12-inches and one-song remixes. Mike
and Steve's careers escalated. I know (the previous automation)
wasn't to their liking; it was archaic. If I'd had Flying
Faders then, we'd have fared a lot better." Now, he adds,
Sabella is a "great boutique mixing room." PRO
SOUND NEWS / March 2000
