Argomenti trattati
The 1809 studio sits in Macedon, NY, roughly twenty minutes east of Rochester, and occupies a repurposed 19th-century Erie Canalside Tavern. The building combines historical character with contemporary purpose: a solar-powered roof, intimate communal spaces and a control room designed to prioritize songcraft. Visitors often remark on the off-the-beaten-path feeling that still keeps essential amenities within easy reach. The space functions as both a professional recording studio and a family home, allowing artists to move between formal sessions and relaxed communal moments without losing creative momentum. That balance is central to how the studio operates and how sessions evolve.
Origins and philosophy
The studio owner’s journey began when he opened his first space, Hopewell Recording, in an old Victorian in Canandaigua while studying at FLCC; that first studio emerged in 2002 as a hands-on classroom for two friends learning by doing. Years spent away in Colorado and Los Angeles expanded his experience: informal recording work, an undergraduate degree in business, and roles in artist and tour management. Returning to upstate New York in 2012 with his partner, they bought a 200-year-old building and spent about two years renovating it into the present-day studio and home. The guiding principle was clear: create a studio that feels like an extension of the producer—affordable, welcoming, and tailored to make artists feel important. Gear always plays a supporting role to the primary goal of serving the song.
Notable collaborations and the creative process
Over time the room has hosted a wide range of artists, from Danielle Ponder, Seán Barna and Stealth Ulvang of The Lumineers to Amanda Rogers, Hallelujah The Hills, Ron Gallo and Former Belle. Those relationships reflect the studio’s emphasis on meaningful work rather than chasing trends. Sessions with Danielle Ponder stand out for their co-writing energy and mutual trust, while projects with Seán Barna—beginning with the EP “Cissy”—have produced multiple records and a collaborative process described as family-like: emotionally honest, social, and creatively focused. Long-term musical friendships have also led to special guest contributions, notably from Adam Duritz of The Counting Crows, whose vocals and collaborative instincts have become part of several Seán Barna records.
Live tracking and unconventional approaches
Some sessions embrace spontaneity. For an upcoming LP with Stelth Ulvang the team often learns and records songs in long continuous takes—sixty to ninety minutes—capturing arrangement decisions as they unfold. The producer frequently performs on sessions, running the control room from the live room while playing bass, arranging parts and singing from an iso booth with windows. This method keeps performances natural and allows songs to develop under pressure-free conditions, where imperfections are often part of the final texture.
Gear, surprises and signature moments
Equipment discovery happens through secondhand marketplaces, conversations with peers, and online deep dives. A cherished centerpiece is the Neotek Series 2 Console, and certain microphone and outboard pairings have become studio signatures: a U67 used alongside a WA-44 ribbon routed into channels of Neve DPX, with the U67 fed to an Audioscape 1176F and the ribbon into an LA2A. Those signal chains have produced vocal takes that staff describe as sounding unexpectedly luxurious. Two memorable studio moments underline the space’s unpredictable magic: Adam Duritz inviting the owner to record backing vocals for recent Counting Crows releases, and the rapid creation of the song “Egún” with Danielle Ponder for Apple TV’s Manhunt, a track that was arranged and demoed in a few hours and later refined with the show’s music supervisor, Lindsey Driscoll.
Studio culture and daily life
The best part of running the room is the continual learning curve—moments when a new idea or technique forces reassessment and growth, or when a fresh signal path makes something click and sound expensive. The frustration lies in the broader ecosystem: recordings rarely yield sustainable returns for most creators, and curatorial power often sits with platforms and algorithms rather than those who make the art. Within the studio, non-musical touches matter: funky furniture, green shag carpet, theatrical creaky doors (now lubricated), a narrow ship-like lounge for cards and drinks, kids who wander through the control room, and a rescued cocker spaniel named Lady who has learned to greet guests. The studio’s vibe is intentionally clean, curated and playful—an environment that favors whimsy alongside focus.
Final thoughts
The invitation from 1809 is straightforward: bring genuine material, bring curiosity, and help make something beautiful. The studio’s ethos resists imitation and champions originality; the hope is that artists will arrive willing to take risks, collaborate honestly, and add new flavors to the shared cultural potluck. For clients seeking a space that blends historic character, modern workflows and a songwriter-first philosophy, 1809 offers a rare combination of home, workshop and creative laboratory.