Clinton Recording Studios New York: Heaven in Hell’s Kitchen

By Bob Deakin

Part I in a series about CRS (1983 to 2010)

Not that long ago, big rooms were in, jingles were a thing, and session players rode cabs all day. Clinton Recording Studios New York at 46th and 10th in Manhattan was on the Rolodex of the well-connected entertainment execs, producers, talent, engineers and insiders.

Business casual would describe the atmosphere at Clinton. When I arrived in the late 1980s it contained three studios on two main floors and the decor was clean, sparse and functional. This was not Electric Lady or a hermetic, trendy hideout. It was a place to bring in lots of equipment and people, and get things done on schedule. 

There was a nice, friendly staff to manage all business up front and leave you to do what you do back in the rooms. Full-time staff techs and assistants made sure your studios and control rooms were stocked and ready to go, and staff engineers were always available.

Studio A upstairs

Heaven in Hell’s Kitchen

As with most studios, you’d never know it was there. It sat on a corner in a nondescript building with a two-way mirror as a front door. It was surrounded by small stores, apartment buildings and in front of the old abandoned West Side line railroad.

The tracks have since been developed into the High Line attraction, named for the old elevated railway. Even higher, a step out onto the Clinton Recording Studios’ roof was a popular place for a smoke and some quiet time away from the pressure of a session.

What’s the Password?

You didn’t just walk in the front door at Clinton or any other recording studio. You stepped to the door and if the person at the front desk clicked the mic, you were buzzed in. 

Then again, if you worked the desk and saw Will Lee, David Spinozza or an entourage with Carly Simon, you knew to buzz them right in. You better as hell not buzz anyone else off 10th Avenue in if you weren’t expecting them. 

Studio A being prepped for a session

Is That a Steinway and a Neumann Mic or Am I Dreaming?

A studio assistant was usually tasked with setting up the studio space for the musicians before they arrived. It was heaven to any musician tasked with micing a Steinway grand, setting up music stands and chairs for the orchestra, or making sure Peter Erskine’s drum tech has enough space to set up the kit before Peter arrives.

Then it’s time to break out the $5,000 Neumann microphones for the vocalists. That might mean making the mic stand nice and low for Patti Austin or making sure there’s a real coffee mug for Barbara Walters. Don’t even think of bringing her a paper cup.

View from the control room of Studio B

Who Can I Thank for Working at a Major Studio for a Minor Wage?

The owners of Clinton and every recording studio in the business. It was and is an honor to be allowed to work in the recording business. If you leave, there are thousands waiting to replace you who will work for free. Finding a studio now is like discovering a phone booth. Even in the old days you had to know a guy who knew a guy who worked at one.

At Clinton it was Bruce Merley and Ed Rak. Both musicians, they each worked in the music business before opening Clinton. Ed was chief engineer in addition to co-owner. Tall and well dressed with a three-day beard, he looked like a New York engineer should look, without the cigarettes. Streetwise and direct, he was what this kid figured all engineers were like. 

Clinton Recording Studios with Bruce and Ed

Bruce looked more like an accountant. Also well dressed and extremely well mannered, he was a pleasure to deal with and a breath of fresh air for a kid from the suburbs trying to make it in the big city. 

Ed and Bruce welcomed me warmly, even though I had no practical experience to date. It worked out very well and I will be forever grateful.

I remember my first extended conversation with Bruce. I mentioned Steely Dan and we quickly ran down the production merits of common tracks that we liked. He also pointed out that a few in our immediate company worked on a Dan album or two.

I suddenly felt like a New York studio guy. You talkin’ to me?

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